DON'T LOOK NOW
ENGLAND/ITALY 1973

 

Some films are very difficult to review, and the only thing that you can concentrate on is story, and hopefully it comes together and makes some sense. And then, there are films that defy the senses in more than one way and it is your hope and mine that we can find something to be able to discuss within the film after its over, although I have to tell you that while there were things that were amazingly outstanding in this film, the whole ending sequence was sad, and blew the whole thing apart and you leave the film with a sour stomach and wondering if this was really necessary, or justified.

It was a really hard feeling for someone that I had come to admire, and still do, for his exciting filming abilities, a lot of which went on to be copied and seen later within the context of things like MTV. This guy, used music in his films like no one else has since, and the context of each song is correct, and proper for the moment, rather than just a teasing moment, or some show off piece of this or that. One only has to catch how The Who's song "Who Are You?" is used in one other film to realize that this is no freak accident, and the use of this music is special or it would not be there. One wishes the rock music world enjoyed and appreciated its music this much! And this was also visible in "Performance" and other films by this director.

However, different it may be, this film did not have the music to help us enjoy the whole thing. It, instead, depended on visuals that are hard to deal with ... things both Laura and John are seeing but can not explain. In the end, it seems the whole film spends its time to dealing with their daughter's death and how the couple feel about each other, which, is very clear in one of its most stunning scenes of both the actors together, and there is no doubt that there is some love there. The cinematography, while very respectful (if that's the right word) leaves no doubt about these two ... who have lost their daughter, and are now in Venice as the husband is about to start on the restoration of a church.

What is difficult here, is that the film has so many forward and backward moments as to make it a bit more confusing, and you just about have to watch it again in order to be able to make sense of some of the images, although some are plain ... him encountering two sisters and one of them stating that she is psychic, and there is a suggestion made of danger. This might not have been needed, in the next series of shots when he is in the church, and a few parts fall out nearby. And, of course, we wonder if this is the danger that one of the sisters was trying to make, or not, in the worst casse scenario, if there is more.

Well, there was, and it didn't get easier and clear until the end. The funeral procession that Laura sees multiple times, ends up being her husband's. And that is how the film leaves us ... in a story that borders on horror, and is filmed like so many horror films went on to copy, however the subtlety with which all of this is done is secondary to the visual style by Nicolas Roeg and what he made of the story by Daphne du Maurier.

Julie Christie and Donald Sutherland are the main leads and their chemistry is excellent all the way through, however, as we get to the end, and we find something else, it is an incredible credit to Julie Christie that she can maintain some sense of composure, under the worst circumstances. Losing a daughter and now her husband. One an accident, but the other hardly an accident. It appeared to have been pre-meditated, although him looking for it, and thinking that the image of what he was seeing was his child, leads us to believe that he is following an image that is not real, and the result is not likely to be the right one.

The lighting and the cinematography in this film, is second to none. At least you know that Nicolas Roeg is about cinematography and how to better illustrate things and he has done this as a cinematographer himself in the earlier days, and then brought it over to his ability as a director and used it for a lot of different things, that colored his films a lot more than we would normally notice.

An excellent film, but I will admit that the ending scared me, and while I love a lot of the stuff in this film that part of the story takes away some of the beauty ... and makes it look like ... even in death there is beauty, and this is counter how we look at these things and makes it very difficult to digest. I love the work of Nicolas Roeg, and I like this film, but in everyone of his films there is always one moment that is scary, and is a part of his ability ... I would say that it is a sort of curiosity, and not necessarily meant as something else.

5 GIBLOONS

Directed by Nicolas Roeg
Screenplay by Allan Scott and Chris Bryant
Taken from Daphne du Maurier's story
Cinematography by Anthony B. Richmond
Music by Pino Donaggio
With Donald Sutherland and Julie Christie

 

   

      

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