Flick of The Day: Don't Look Now

The psychological thriller is a delightfully dark genre and something I am a big fan of. It relies on the psychological state of the protagonists to drive the plot and thus has led to some great films down through the years. Here at The Daily Flick, we've previously reviewed some of the best of them such as Les Diaboliques and The Vanishing and today we add another to the list. Director Nicolas Roeg made several complex and difficult films during his career but perhaps none more so then today's flick of the day and perhaps one of the scariest psychological horror film's of all time, Don't Look Now.

Don't Look Now (1973)

Donald Sutherland and Julie Christie star as a young English couple who are struggling to come to terms with the sudden drowning of their young daughter which opens the film. Based on a story by Daphne du Maurier, this is a classic tale of loss and the effects of grief. In an attempt to move on, they move to a crumbling Venice, shot in Winter time, where Sutherland's John has been hired to oversee the restoration of an old church. However, Venice is full of reminders of their daughter while all the while the city is struggling to cope with a series of grisly murders. John begins to see fleeting glimpses of a young girl in a red raincoat, similar to the one his daughter died in. Christie's Laura becomes involved with two elderly sisters, one of whom claims psychic powers and an ability to contact their daughter. As the film moves toward a climax, the labyrinthine streets of Venice seem to close in and the red coated figure makes increasing appearances culminating in a shocking ending. 

There is something deeply unsettling about the Venice which the grieving Baxter's inhabit. It is full of dark alleys and gothic architecture which seems to close in on the pair by the end in an almost hellish vision. The sound seems to have been recorded to disorientate the viewer with steps reverberating off walls, leaving you unsure of where the sound is coming from. For a horror film, this does not rely on gore or grisly horror to touch the audience's nerves but rather builds up a heavy atmosphere and uses Venice itself as a tool of the supernatural. It is because of this that it is a far better and indeed far more unsettling film then many of its glossier and more obvious contemporaries.

Sutherland and Christie deliver career best performances as the grieving couple and there seems to be genuine chemistry between the two. Perhaps the most controversial aspect of the film is the graphic love scene between the two, indeed rumours best ignored have persisted with the idea that the scene was not simulated something denied by Sutherland. Regardless it is central to the plot and today it appears more touching and human then in any way shocking. It is a testament to Roeg's abilities as a film-maker that the film still hold the power to frighten even today with an ending that will stick with you.

All in all, this is a landmark film in the genre, using atmospherics to create a haunting meditation on the grieving process and the supernatural. It has two strong performances from the leads and a steady hand from the director. It doesn't rely on cheap tricks and theatrics, leading to a shocking ending. A must see but remember, don't look now.