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
Please email me with questions and/or comments
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11/06/2022