My quick rating – 7.2/10. It has been two years since we lost Donald Sutherland, so I figured it was time to dig up Don’t Look Now. Going in, I honestly didn’t remember much about it beyond hearing people talk about that scene for years. You may have read about it. The scene that apparently had audiences clutching their hearts back in 1973. Having finally seen it, I can understand why it got people talking. By modern standards it’s pretty tame, but fifty-some years ago this was probably enough to make somebody spill their tea and write an angry letter.
I wasn’t expecting just how good the movie itself is.
In Don’t Look Now, we follow the journey of John and Laura Baxter, actors Donald Sutherland and Julie Christie, after the unfortunate death of their little girl. The two of them visit Venice since John is engaged in the renovation of an old church. Naturally, because this is a horror movie, Venice decides it has other plans. Before long, they encounter two mysterious sisters, one claiming to be psychic and able to communicate with their deceased child, and things get progressively weirder from there.
What caught me off guard this time was how little the horror mattered compared to the grief. The tragedy from the start of the film haunts everything else. Sutherland’s portrayal of a man desperately holding on to sanity amidst constant attempts to draw him into what he can’t understand is amazing. Likewise, the performance of Julie Christie as Laura, who takes this possibility much more seriously than anyone else, is excellent.
And then there’s Venice.
I always see Venice portrayed as one of the most romantic cities in the world. Nicolas Roeg apparently took one look at that reputation and said, “Let’s make it feel like a nightmare.” The city looks incredible here. The narrow alleys, dark canals, endless maze of streets, and aging buildings create an atmosphere that’s creepy as hell without even trying. Half the suspense comes from feeling like if you took one wrong turn, you weren’t making it home. Ever.
The way in which Roeg directs his film also warrants credit. There is an element to the editing that might be confusing, but it is purposefully done. There is a consistent feeling of things being somewhat off because of the flashes of red, odd camera shots, and images.
And yes, the famous love scene is still here. What surprised me is how important it feels to the story. It isn’t there just for shock value. It’s one of those rare instances where John and Laura felt bonded amid their struggle.
By the time Don’t Look Now reaches its final act, it becomes clear this isn’t your typical horror flick. This is actually an extremely touching story of loss, wrapped up in ghostly puzzles culminating in an ending that will shock you decades later. Added to the brilliant performance of Donald Sutherland and Roeg’s stunning imagery, it is not hard to understand why this has become a highly acclaimed classic.
