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| Released: |
1973 |
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| Genre: |
HORROR
THRILLER
CONTROVERSIAL
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| Origin: |
GB/ Italy |
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| Length: |
110 |
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PRO Reviews
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| The performances are right on the button; Donald Sutherland is (unusually) at his most subdued, top effectiveness as the materialist who ironically becomes the victim of his refusal to believe in the intangible, Julie Christie does her best work in ages as his wife, while a superbly-chosen cast of British and Italian supporting players etch a number of indelibly vivid portraits. Editing too is careful and painstaking (the classically brilliant and erotic love-making scene is merely one of several examples) and plays a vital role in setting the film’s mood. |
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| (Variety) |
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| Neither a ghost story nor an outright thriller: all that happens to the married couple in a wintry Venice happens below the surface of actual experience; but like a shiver under the skin, it sets the surface hairs stiffening. Du Maurier's story is faithfully followed: but the compass needle Roeg follows points to the more distant latitudes of the Argentinian writer Jorg Luis Borges - his symbols of symmetry and reflection, labyrinth and water throng the film...it reveals its meaning only at the moment one plunges through the trap door into the abyss of madness. Don't Look Now is Roeg's best film: what the story tells and what it intimates are so well balanced. |
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| (Alexander Walker) |
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| A powerful and dazzling visual texture. |
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| (Penelope Houston) |
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| Conceived in Roeg’s usual imagistic style and predicated upon a series of ominous associations (water, darkness, red, shattering glass), it’s hypnotically brilliant as it works remorselessly toward a sense of dislocation in time; an undermining of all the senses, in fact, perfectly exemplified by Sutherland’s marvellously Hitchcockian walk through a dark alley where a banging shutter, a hoarse cry, a light extinguished at a window, all recur as in a dream, escalating into terror the second time round because a hint of something seen, a mere shadow, may have been the dead child. |
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| (Tom Milne, Time Out) |
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. Julie Christie 