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Don't Look Now patiently builds suspense with haunting imagery and a chilling score -- causing viewers to feel Donald Sutherland and Julie Christie's grief deep within. Read critic reviews

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Movie Info

Still grieving over the accidental death of their daughter, Christine (Sharon Williams), John (Donald Sutherland) and Laura Baxter (Julie Christie) head to Venice, Italy, where John's been commissioned to restore a church. There Laura meets two sisters (Hilary Mason, Clelia Matania) who claim to be in touch with the spirit of the Baxters' daughter. Laura takes them seriously, but John scoffs until he himself catches a glimpse of what looks like Christine running through the streets of Venice.

Cast & Crew

Julie Christie
Laura Baxter
Massimo Serato
Bishop Barbarrigo
Renato Scarpa
Inspector Longhi
Leopoldo Trieste
Hotel Manager
David Tree
Anthony Babbage
Ann Rye
Mandy Babbage
Anthony B. Unger
Executive Producer
Allan Scott
Screenwriter
Chris Bryant
Screenwriter
Pino Donaggio
Original Music
Anthony B. Richmond
Cinematographer
Miriam Brickman
Casting
Ugo Mariotti
Casting
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News & Interviews for Don't Look Now

Critic Reviews for Don't Look Now

All Critics (74) | Top Critics (22) | Fresh (70) | Rotten (4)

Audience Reviews for Don't Look Now

  • Sep 22, 2016
    Don't Look Now is an adaptation of Du Maurier's short story of the same name. Many elements were changed to emphasise the grief of characters, the colourful symbolism was greatly used build up suspense and the twist was fantastic. One of the best British cinema in the 70s.
    Sylvester K Super Reviewer
  • Jun 11, 2015
    Polarizingly indifferent to what one would expect from a horror film - I don't really think its a thriller - Don't Look Now is Nicolas Roeg's take on The Birds' Daphne du Maurier's twisted story of grieving the death of a child in a foreign country. Plagued by (psychic?) visits from beyond the grave, Julie Christie and Donald Sutherland find themselves in a miserable warp of a game throughout the film. It's good, but it isn't amazing. The style in which its filmed isn't necessarily surrealistic but its a Rosemary's Baby-esque dream-like style that twists and turns with alot of quick cuts and interceptions of nonsense or irrelevance that make it all the much more scary, because things that don't make sense are scary always and Roeg understand this. The sex scene is really cool as well and remarks on how controversial the seventies must of been for film, released in the same year as Friedkin's The Exorcist and two years before The Rocky Horror Picture Show, in the same decade as 120 Days of Sodom, I Spit On Your Grave and A Clockwork Orange, reminding us we will always push boundaries like big red buttons, of course most of it is pretty tame to us now. Don't Look Now is also relentlessly humble and unpolished throughout with muffled and dusty street corners, the romantic city of Venice is more city of devils than angels and is painted as no Happily Ever After destination. The twist ending will stay with you for a very long time and whilst some parts of the film seem slightly plotless resulting in the film seeming a tad overlong, the finalé reeks of time well spent.
    Harry W Super Reviewer
  • Sep 23, 2014
    With a melancholy score and fabulous editing, this notably ominous and labyrinthine story about grief and acceptance uses symbols, omens and a constant sense of danger to make us share the intense confusion and disorientation experienced by its characters.
    Carlos M Super Reviewer
  • Sep 29, 2013
    On the surface, "Don't Look Now" is a chilling jaunt in the world of psychics and deep emotional loss, but the question that needs to be asked pertains to whether the film is actually scary or if its horror is brought on mainly by the 70's nature of the film. Horror films like "Rosemary's Baby" and "The Birds" are made scarier by the old-fashioned feel of the medium of old film. The grainy look and stiff performances are eerie, like looking at solemn black-and-white photos from the early 90's where no one ever smiles. Donald Sutherland definitely provides a triumphant performance as grieving father, facing off with relocating to a foreign country after the loss of his daughter, along with a blind psychic that warns him of forthcoming danger. Not quite to the standards of Hitchcock or Polanski, Roeg does a commendable job of imitating these directors, but for the most part, simply delivers a straightforward thriller with little to no tension.
    Christopher H Super Reviewer

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