posted on: October 19, 2020
[30], The drowning scene and house exteriors were filmed in Hertfordshire at the home of actor David Tree, who also plays the headmaster at the son's boarding school. Shortly after returning, Heather slips into a trance so John makes his excuses and quickly leaves. [54] Canby considered the "sincerity of the actors" to be one of the better aspects of the film,[56] while Kael found Christie especially suited to the part, observing she has the "anxious face of a modern tragic muse". Standing at only 4'2" tall, she had a career as a singer. [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. [20], The score was composed by Pino Donaggio, a native Venetian who was a popular singer at the time (he had a hit with "lo Che Non Vivo" which was covered by Dusty Springfield in 1966 as "You Don't Have to Say You Love Me"); prior to Don't Look Now, Donaggio had never scored a film. [72] Thematic and narrative similarities with Lars von Trier's Antichrist have also been observed,[73] with Antichrist's cinematographer, Anthony Dod Mantle, commenting that he has watched Don't Look Now more times than any other film. Christie liked the script and was keen to work with Roeg, who had served as cinematographer on Fahrenheit 451, Far from the Madding Crowd and Petulia in which she had starred. For the short story by Daphne du Maurier from which it is adapted and the collection it appears in, see. In the 2007 stage play of Don't Look Now, written by Nell Leyshon and directed by Lucy Bailey, the play made a conscious effort to bypass the film and be a faithful adaptation of du Maurier's short story, but it did however retain the iconic red mac from the film as worn by the elusive childlike figure. The scene was unusually graphic for the period, including a rare depiction of cunnilingus in a mainstream film. [47], Don't Look Now was chosen by the British Film Institute in 2000 as one of eight classic films from those that had begun to deteriorate to undergo restoration.
[61] A survey of 1000 people who work across the film and television industry, undertaken by the British Film Institute in 1999, saw the film ranked eighth on their list of top 100 British films of the 20th century. [4][8] After John is attacked by his assailant in the climactic moments, the preceding events depicted during the course of the film are recalled through flashback, which may be perceived as his life flashing before his eyes. Overview; Filmography; Filmography at a glance. Laura encounters two elderly sisters, Heather (Hilary Mason) and Wendy (Clelia Matania), at a restaurant where she and John are dining; Heather claims to be psychic and—despite being blind—informs Laura she is able to "see" the Baxters' deceased daughter. 11. Cocks also felt that the film was a marked improvement on the novella, noting that a reading "makes one appreciate Roeg and Screenwriters [Allan] Scott and [Chris] Bryant all the more. [13] John himself is mistaken for a Peeping Tom when he follows Laura to the séance,[14] and ultimately he mistakes the mysterious red-coated figure for a child.
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