Background
Don't
Look Now (1973) is British director Nicolas Roeg's haunting
and classic "shattering" supernatural thriller (his greatest
film), and depiction of grief, based upon the 1971 Daphne du Maurier
short story tale. The fatalistic and portentious film was advertised
as a "psychic" thriller (the film's tagline was cautionary: "Pass
the warning. A psychic thriller"), interweaving the macabre
and everyday life. The film's title was quite appropriate - referring
to imperfect vision. It delivers both danger and warning ("Don't"),
and seeing, watching and reflecting ("Look") in the present
("Now"), and hints as a whole that one must overlook
tragedy, find grace, forgiveness and meaning, and move on with
life.
The pretentious director Roeg was well-known as the
creator/director of a number of daring, striking art-house films
with random, non-linear sequences (both flashforwards and flashbacks),
fractured and fast-cutting editing (and enigmatic visual clues),
images that suggest memories or dreams, skewed camera angles, and
recurring motifs and themes of alienation from culture, sexual obsession,
and apprehension. This was his third feature film, following Performance
(1970) and Walkabout (1970). His next films were the sci-fi The
Man Who Fell to Earth (1976), Bad Timing: A Sensual Obsession
(1980), Eureka (1982), Insignificance (1985), Castaway
(1987), the surrealist Track 29 (1988), and even the notorious Full
Body Massage (1995), a Showtime movie with Mimi Rogers and Bryan
Brown.
This intense, disorienting, chilling mystery/drama
told with a calm and leisurely-pace, was in the same year as another
scary "horror"
film The Exorcist (1973), and contained
many of the more traditional elements of the horror genre: a serial
killer on the loose with corpses of victims piling up, psychic-ESP
abilities and premonitions of death, and a dark foreboding setting.
It told about a recuperating, grief-stricken married couple, Laura
(Julie Christie) and art restorer John Baxter (Donald Sutherland),
in Venice for work and relaxation after the tragic accidental drowning
demise of their daughter Christine (Sharon Williams) at their English
country estate. At every turn in the ancient port city, the bereaving
heartbroken couple were reminded of death.
Its notorious explicit extended sex scene between the
two principals has made the film a legendary example of erotica,
although it was deliberately filmed to portray a normal married couple's
routine - with both dispassionate, preoccupied dressing for dinner,
and passionate love-making. The scene was so explicit (and seemingly
real) that it had to be edited before the film's US theatrical R-rated
release. Many questioned whether the sex was real or not, although
many years later, Sutherland rebutted the rumor that he had engaged
in unsimulated sex with Christie. In fact, only nine individual frames
were required to be cut from the film in order to move it from an
X rating to an R-rating. [Note: The intercutting sex scene was imitated
in Steven Soderbergh's Out of Sight (1998) between George
Clooney and Jennifer Lopez.]
The popular, fabled Italian tourist city threatened
by rising waters (apt for a film about a tragic drowning) figured
prominently in the film, although it wasn't portrayed as an attractive
city of romance and passion. It was filmed in the dead of winter
by gifted cinematographer Anthony B. Richmond, and was seen here
as old, haunted, doom-laden, frosty, foggy and damp - with sinister,
splintered shadows, grey skies, and darkness, labyrinthine dead-end
alleyways with rats, rotting buildings and churches, half-empty cafes
and hotels, peeling walls, tarnished stone, desolate streets and
murky canals (Heather: "It's like a city in aspic left over
from a dinner party and all the guests are dead and gone").
In addition, the off-kilter city was plagued by a series
of grisly, unsolved murders. The fleeting image of a figure in red,
a premonition of death, has been seen in many films since, including: Flatliners
(1990), Spielberg's Schindler's List (1993), M.
Night Shyamalan's The Village (2004), Dark Water (2005), Hostel
(2005), The Omen (2006) and even James Bond's Casino
Royale (2006). The dreamlike images of reflections and mirrors,
cavernous walkways, and sightlessness hinted at the world of the
afterlife - are all John's self-fulfilling dying visions that culminate
in his own death.
The repetitive thematic images in the film include
the following:
Significant Recurring Themes
|
Examples
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Water
Raindrops splash onto a pond's surface
A ball splashes into pond water
A step is made into a puddle
A failed rescue attempt of a drowned girl
Corpses in water
Many instances of glasses of water, and spilled glasses of water |
- young daughter Christine throws her red and
white ball into a pond, setting up a chain of deadly events
- she steps into a puddle; John spills his water
- a foreshadowing of the drowning
- he splashes and plunges
into the surface of the cold pond water to try and save Christine
- water symbolizes the drowning death of the
daughter
- the criss-crossing Venice canals are for navigation,
and also hold corpses
- Wendy's brooch is of a mermaid - a creature
that lives in water
- later, John gives Laura a glass of water
during their argument about whether Christine is dead or not
- by his bedside after his fall, Johnny has a
glass of water
- a corpse is dragged out of the canal
- John
fishes a child's naked doll from the water's edge in Venice
- John asks for a glass of water in the sisters' hotel room just
before his final confrontation with the killer-dwarf
|
Smashed Glass |
- at the same time as Christine steps into a
puddle, and son Johnny breaks a pane of glass with his front
bike tire and falls off his bike, the father spills his water
glass in the study
- Johnny removes the broken glass from his
bike tire, as a 'blood-like' drop of water, turning red, moves
destructively across one of father John's slides
- pondside,
Johnny also nervously twirls a broken piece of glass in his
hand, drawing blood
- later, glass breaks on the table as Laura
collapses in the restaurant
- in the church where John is working,
a wooden plank smashes a glass screen on which pictures, transparencies,
and photographs have been put
- John kicks out glass with his
shoe as he convulses and dies
|
Doppelgangers (or Duplicates)
Subthemes:
Seeing or not Seeing
The Persistence of Obscured, Half-Seen Objects |
- as Christine stoops next to the pond to retrieve
her red and white ball, her reflection is seen
- while viewing
slides, John sees a seated figure of a red-hooded small person
in a church pew
- he also makes a comment about the "good
question" asked by his daughter about flat pond water: "Nothing
is what it seems"
- Christine's red-figure is reflected
in the pond water as she runs along the edge
- wife Laura states
that she put John's duplicate slides in her tray
- the bloody
red globule drop on the slide is the same shape as the drowned
Christine in John's arms (and later, of Wendy's mermaid brooch,
and the map of Venice behind the Police Inspector)
- later,
John restores (or creates duplicate fakes) of a church mosaic
and makes them indistinguishable from new ones (Laura:
"I can't tell the difference between his repaired windows
and the originals")
- one English sister Wendy, has a cinder
in her eye and temporarily cannot see
- the two English sisters
explain how they like to stare - they are similar duplicates
(both can see, although only one is blind and psychic)
- a boy
in a hospital in Venice plays with a ball similar to Christine's
- the walls of the headmaster's study (the wallpaper
appears to be hung paintings)
- throughout the film, John misconstrues
the murderous red-hooded dwarf as the spirit of his deceased
daughter Christine
- John is mistaken for a Peeping Tom
- other
duplicates include many mirrored images (e.g. the two English
sisters in the restroom mirror, John and Laura in their hotel
bathroom before love-making, etc.), more reflections in water
or mirrors, photographs, and the police sketches of his wife's
face
|
The Motif of Falling |
- young Johnny falls off his bike
- Christine's
Action Man pull-string doll commands: "Action Man patrol
- fall in"
- Christine falls into the pond
- John struggles
and falls as he attempts to save her and carry Christine's
body back to the house
- later, Laura falls in the restaurant
and must be taken to a hospital
- son Johnny accidentally falls
at boarding school during "fire practice"
and bumps his forehead
- John almost loses his own life in a near-fall
from a rickety scaffolding in a church
- the church's bishop mentions
that his father was killed in a fall
|
The Color Red |
- an oozing, blood-like red globule spreads
malevolently from the red-garbed figure in the pew across the
slide-picture of the interior of a Venetian church - to destroy
it
- red flowers in the Baxter home
- other instances
of the color red: the red raincoat of the daughter and the
dwarf in the pew, the dominant color of John's multi-hued scarf,
Johnny's bed blanket after his accident and a small red mark
on his forehead, a Charlie Chaplin poster on a wall with red
lettering, a pair of woolen red bobble-hats, red flowers in
the hotel porter's back office, a red sweater hanging upside
down on a clothesline across a Venetian canal, the bishop's
red cap, the glass red-lined case in the bishop's study, the
red candle on the bishop's bedroom mantelpiece; blood from
the slashed neck of the murdered father, oozing down the wall
- the red flowers and red-capped Johnny on John's
funeral barge
|
Staircases (Whorl-Shaped) and Bridges |
- a symbol of self-destructive obsession (Laura's
illness, and John's bizarre visions)
- the swirling pattern
of tiles in the church restoration's mosaic
- also reflected
in the maze-like alleyways in Venice in which John and Laura
often become lost
- and in the final sequence - the shape of
the swirling foggy mist and the staircases that John ascends
before his death
- omnipresent bridges in the film symbolize
crossing over to the 'other side' (the afterlife), or being
able to touch or connect (communicate), but are also barriers
|
Miscommunication |
- John misinterprets his daughter's play outside
as harmless although it is deadly
- spoken Italian in the film
is not subtitled for the film viewer
- there are Italian language
barriers for John
- Heather communicates with the dead, not
the living
- the call from the Headmaster about Johnny's
fall is not clearly understood, so the Headmaster's wife completes
the call
- arrangements for Laura's transport to the airport
are in untranslated Italian
- John has difficulty speaking to
two sunglasses-wearing Italian ladies in the pensione
- Laura
is greeted at the airport by a misspelled sign: "Sig-ra
Baster"
- directions during Laura's water-taxi trip from
the airport are to the police station rather than to his hotel
- John miscommunicates to the red-garbed serial
killer that he is a friend
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