Just an outright list of reasons to watch one of my very favorite autumn horror films, Nicolas Roeg’s Don’t Look Now (1973), adapted from the Daphne Du Maurier story by the same name. At time of posting, it is currently included free to stream with a Prime account, if you have access to one of those.
1. Don’t Look Now is unsettling and atmospheric and creepy and striking, but not due to jump-scares or gore. Of course everyone has different things they’re frightened by in movies, but for me at least, this is a horror film I have described as “not scary-scary, just eerie.” This is not a movie designed to make you cower with dread, it is a movie designed to make you keep asking softly, with disquieted wonder, “what the heeeck…”
2. It stars young Donald Sutherland and Julie Christie in capital 1970s Transatlantic bougie intellectual chic, playing a married couple who have recently lost one of their two small children in a drowning accident.
3. And they then go to VENICE, a city of water!! Obviously the haunting watery imagery is everything you’d want it to be in the circumstances. The reason they travel to Venice is because Donald Sutherland’s character is not simply one of cinema’s many architects, but specifically an architect who restores cathedrals. There could hardly be a better movie career. The combination of artistic, academic, and material know-how here…bellissimo.
4. Anyway it is of course, in the way all good horror movies are “really about” something, really about grieving.
5. I think there are three main components of my love for this movie: the filmmaking style, the setting, and the central couple. Let’s go backwards since we were already talking about them:
5. a. Donald Sutherland and Julie Christie are so good in this. More so than a lot of movie spouses these two actually feel like they’re married, and it’s partly what was scripted but so much of it just comes from their performances. It’s a relationship I always enjoy watching, whether they’re at odds as they struggle with the strain of their terrible loss, or being close and familiar and cute with one another in a very longstanding kind of way. I feel for and root for them, which is an important piece of investment to have in a movie that is only going to further and more strangely bedevil this pair as soon as they reach Venice.
5. a. i. (Don’t Look Now also features one of film history’s more infamous and influential sex scenes–I like it!)
5. b. VENICE. I’m obsessed with the Don’t Look Now Venice, a sombre ghost city of little waves quietly lapping against stone, the bare, chilly streets with seemingly more pigeons in them than people. It is late autumn here, not the tourist season, the hotel they are staying at set to close for the winter as soon as they check out. It feels bleak and damp and old, perfectly enhanced by that particular taupe & cigarette smoke, Tinker Tailor Soldier Spy palette of this period. This is a quiet, half empty Venice, haunting and haunted. If you watched The New Pope, think the Venice of Episode 7—an episode I am now super guessing might have been deliberately referencing Don’t Look Now. Or think the Bruges of In Bruges, which Martin McDonagh said he wanted to function the way Venice does in Don’t Look Now, a movie his references in numerous ways thematically, formally, and of course in the metafilmic moment where Clémence Poésy’s character directly names it as the inspiration for the movie that is currently shooting in the city. Bryan Fuller would also cite Roeg’s Don’t Look Now as one of the reference points of the loss-haunted Italy section that begins the third season of his Hannibal adaptation on NBC—though if we keep going, the amount of filmmakers who have been influenced by this movie is nearly numerous enough to become comical if listed.
5. c. And that is mostly due to the sheer calibre of film craft being deployed here. It is a movie of vivid visual symbolism without feeling overbearing, of experimental editing without feeling remote. Practically any scene in this could credibly be someone’s favorite, they’re all just that good. The way the shots are laid out, the pacing, the finesse with which a plot line that will in time be entirely interrelated with our story begins unfolding first as just a piece of background texture (god I’m so into that!)… The first time I watched Don’t Look Now I immediately watched it again, because I just wanted to appreciate it a second time.
6. “One of the things I love about Venice is that it’s so safe for me to walk. The sound changes, you see, as you come to a canal. And the echoes near the walls are so clear. My sister hates it. She says it’s like a city in aspic, left over from a dinner party, and all the guests are dead and gone.”