Don't Look Now
115 minutes,
UK/Italy (1973), 15
Chilling but moving classic of British cinema. Julie Christie and Donald Sutherland star as a couple who move to Venice after the death of their daughter, only to encounter forebodings of death amid its dank off-season canals
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Don't Look Now Review
Chilling but moving classic of British cinema. Julie Christie and Donald Sutherland star as a couple who move to Venice after the death of their daughter, only to encounter forebodings of death amid its dank off-season canals
Architectural restoration expert John Baxter (Donald Sutherland) and his wife Laura (Julie Christie), grieving over the sudden drowning of their daughter Christine (Sharon Williams), take a working holiday in Venice.
While John busies himself with his work, Christine meets up with middle-aged sisters Heather (Hilary Mason) and Wendy (Clelia Matani). Although blind, Heather claims to 'see' Christine. Furthermore, Heather claims that Christine is trying to warn the Baxters. Certainly John's work manhandling gargoyles and climbing shaky scaffolds isn't entirely danger-free. Also, the sense of foreboding is masterfully cranked-up by the evidence of a mysterious killer working in the city and by the disorientation of premonition.
Though Laura finds solace in Heather's claims, John is sceptical. He is unnerved by a wholly different experience: fleeting sightings of a small figure dressed in a red coat, much like Christine's.
While John busies himself with his work, Christine meets up with middle-aged sisters Heather (Hilary Mason) and Wendy (Clelia Matani). Although blind, Heather claims to 'see' Christine. Furthermore, Heather claims that Christine is trying to warn the Baxters. Certainly John's work manhandling gargoyles and climbing shaky scaffolds isn't entirely danger-free. Also, the sense of foreboding is masterfully cranked-up by the evidence of a mysterious killer working in the city and by the disorientation of premonition.
Though Laura finds solace in Heather's claims, John is sceptical. He is unnerved by a wholly different experience: fleeting sightings of a small figure dressed in a red coat, much like Christine's.
"A disjointed, multi-layered, totally cinematic masterpiece"
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