It was depressing for everyone. That volume – Don’t Look Now and other stories – was a collection published in her lifetime (original UK title: Not After Midnight). This is du Maurier, after all. Also includes sites with a short overview, synopsis, book report, or summary of Daphne du Maurier’s Don't Look Now. [19] At a narrative level the plot of Don't Look Now can be regarded as a self-fulfilling prophecy: it is John's premonitions of his death that set in motion the events leading up to his death. [4] Vincent Canby, reviewer for The New York Times, on the other hand, criticised the film for a lack of suspense which he put down to a twist that comes halfway through rather than at the end, and at which point it "stops being suspenseful and becomes an elegant travelogue that treats us to second-sightseeing in Venice". Instead, it is revealed to be a hideous female dwarf, and while John is frozen in terror the dwarf pulls out a meat cleaver and cuts his throat. Any recommendations? Love the creepy red-herring of the opening Iines that you quoted. John catches a glimpse of what appears to be a small child (Adelina Poerio) wearing a red coat similar to the one Christine was wearing when she died. [57], Roeg's use of Venice was praised too, with Roger Ebert finding that he "uses Venice as well as she's ever been used in a movie",[44] and Canby also noted Venice is used to great effect: "He gets a great performance from Venice, which is all wintery grays, blues and blacks, the color of the pigeons that are always underfoot. How? Flint instructed his guests to "uncross" their legs, which Roeg subsequently incorporated into the film. Sutherland also wanted to make the film but had some reservations about the depiction of clairvoyance in the script. The stories collected in Don't Look Now feature U-boats and ghost ships; murderers and femme fatales; love on the rocks; episodes of clairvoyance and psychic shock; and, of course, birds attacking humans. Everything you need to understand or teach Shortly after returning, Heather slips into a trance so John makes his excuses and quickly leaves. [13] The most famous use of this fragmented approach to time is during the love scene, in which the scenes of John and Laura having sex are intercut with scenes of them dressing afterwards to go out to dinner. As with Wyndham, too, du Maurier’s characters tend to be stout, hearty types, everymen to whom strange things happen. It also employs flashbacks and flashforwards in keeping with the depiction of precognition, but some scenes are intercut or merged to alter the viewer's perception of what is really happening. Jay Cocks regarded Don't Look Now to be Roeg's best work by far and that Roeg was one of "those rare talents that can effect a new way of seeing". [25] The mysterious red-coated figure and its association with death has a direct parallel with an earlier film Roeg worked on as cinematographer, The Masque of the Red Death, which depicted a red clad Grim Reaper character. Sometime after the drowning of their young daughter, Christine (Sharon Williams), in an accident at their English country home, John Baxter (Donald Sutherland) and his grief-stricken wife Laura (Julie Christie) take a trip to Venice after John accepts a commission from a bishop (Massimo Serato) to restore an ancient church. The same goes for ‘Escort’, a moment of crisis on a wartime ship. [49], Don't Look Now has been released on VHS, DVD and Blu-ray. ( Log Out /  Author Ethan Rutherford started reading Daphne du Maurier's collection of stories, Don't Look Now, while it was still light out and didn't move from his chair until dark. The piano pieces were performed by Donaggio, despite the fact that he was not very accomplished at playing the piano. An absolute classic and an utterly weird one. Full of bone-chilling tales, this collection includes “The Birds,” the basis for the Alfred Hitchcock film of the same title, and other creepy classics. DuMaurier's short stories, the source for so many films, including The Birds, are gems. Nick Roeg is a brilliant director. I can't make up my mind whether to blame this on my memory or Du Maurier's failure as a writer, but either way I'm probably being too generous by giving this three stars. Having said all that, I was persuaded to read Rebecca by my girlfriend a while back and – although not my typical choice of reading material by any means – it’s a very astute and gripping work. The scene was unusually graphic for the period, including a rare depiction of cunnilingus in a mainstream film. John is sceptical but pleasantly surprised by the positive change in Laura's demeanour. Having gone through the film shot by shot, he came to the conclusion it is a "masterpiece of physical filmmaking, in the way the photography evokes mood and the editing underlines it with uncertainty". There seems to be some confusion in the reviews here. Roeg was resistant to any changes and issued Sutherland an ultimatum. [10][38][39] Michael Deeley, who oversaw the film's UK distribution, claimed on BBC Radio 4's Desert Island Discs that Warren Beatty had flown to London and demanded that the sex scene—featuring then girlfriend Julie Christie—be cut from the film. Venice turned out to be a difficult place to film in, mainly due to the tides which caused problems with the continuity and transporting equipment. Your purchase helps support NPR programming. [24] Roeg's use of colour—especially red—can be traced back to earlier work: both Performance and Walkabout feature scenes where the whole screen turns red, similar in nature to the scene during Christine's drowning when the spilt water on the church slide causes a reaction that makes it—along with the whole screen—turn completely red.
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