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One of his early ones was "Don't Look Now", in which Cupid and the Devil have their work cut out on Valentine's Day. Donaggio was reluctant at first because he did not understand why they would be interested in someone who had no experience of scoring films. [70] Mark Gatiss, Steve Pemberton, Reece Shearsmith, and Jeremy Dyson drew upon Don't Look Now considerably for their television series The League of Gentlemen; Pemberton ranks it among the top three British horror films of the 1960s and 1970s, and says that he wants things he has written to make audiences feel the way he felt when he watched The Wicker Man and Don't Look Now. Some time after the film had come out, renowned stunt co-ordinator Vic Armstrong commented to Sutherland that the wire was not designed for that purpose, and the twirling around caused by holding on to the rope would have damaged the wire to the extent that it would have snapped if Sutherland had let go. Written by The Red Sox are 3-0, which is a huge factor in their 7-3 record. Roeg was enthusiastic about the result but the London-based producers were resistant to hiring someone who had no background in films. [95] David Cronenberg regards it as the most frightening film he has seen,[96] and its influence has been detected on Cronenberg's The Brood. [63] A survey of 1000 people who work across the film and television industry, undertaken by the British Film Institute in 1999, saw the film ranked eighth on their list of top 100 British films of the 20th century. When she ends up in the hospital from an overdose, an inspector becomes set on discovering the demise of their affair. [57] Cocks felt that thanks to their superb performances the film had a "rigorous psychological truth and an emotional timbre" that most other films in the supernatural genre lacked. Laura encounters two elderly sisters, Heather (Hilary Mason) and Wendy (Clelia Matania), at a restaurant where she and John are dining; Heather claims to be psychic and—despite being blind—informs Laura she is able to "see" the Baxters' deceased daughter. In the meantime the police have brought Heather in for questioning, so an apologetic John offers to escort her back to the hotel. Jay Cocks regarded Don't Look Now to be Roeg's best work by far and that Roeg was one of "those rare talents that can effect a new way of seeing". [15][39] The intimacy of the scene led to rumours that Christie and Sutherland had unsimulated sex which have persisted for years, and that outtakes from the scene were doing the rounds in screening rooms. Filming began in England in December 1972, breaking off for Christmas, and resuming in January 1973 for seven more weeks in Italy. "In Venice... a shocking red December") is a 1973 English-language film directed by Nicolas Roeg. Don't look now, but your ex just walked in. You must be a registered user to use the IMDb rating plugin. [61], The reputation of Don't Look Now has grown since its release and it is now regarded as a key work in horror cinema. With Julie Christie, Donald Sutherland, Hilary Mason, Clelia Matania. Themes. Laura is taken to the hospital, where she later tells John what Heather told her. [32], The drowning scene and house exteriors were filmed in Hertfordshire at the home of actor David Tree, who also plays the headmaster at the son's boarding school. I was paralyzed by fear and totally involved in the bizarre predicament of the protagonists. A young governess for two children becomes convinced that the house and grounds are haunted. A married couple grieving the recent death of their young daughter are in Venice when they encounter two elderly sisters, one of whom is psychic and brings a warning from beyond. [7] Roeg describes the basic premise of the story as principally being that in life "nothing is what it seems",[5] and even decided to have Donald Sutherland's character utter the line—a scene which required fifteen takes. She insists that she sees the spirit of the Baxters' daughter, who recently drowned. The next day, Laura meets with Heather and Wendy, who hold a séance to try to contact Christine. Don't Look Now is an occult-themed thriller[3] in which the conventions of the Gothic ghost story serve to explore the minds of a grief-stricken couple. [49], Don't Look Now was chosen by the British Film Institute in 2000 as one of eight classic films from those that had begun to deteriorate to undergo restoration. Never forget that the story is never the initiating event, but instead the Republican reaction to it. The scene was in fact an unscripted last minute improvisation by Roeg, who felt that without it there would be too many scenes of the couple arguing. Don't look now, but I think we're being followed. "[56] Roger Ebert in his review for the Chicago Sun-Times commented that Roeg is "a genius at filling his frame with threatening forms and compositions",[46] while Pauline Kael labelled him "chillingly chic" in hers. [47][48] Michael Deeley, who was managing director of British Lion Films at the time of the film's release, claimed that the film's US reception was hurt by Paramount Pictures rushing the film into cinemas too early, due to the unexpected failure of Jonathan Livingston Seagull;[49] despite its mismanaged distribution, Peter Bart—from his time at Paramount—recalls it performing "fairly well" at the box office. [30] Nicolas Roeg and editor Graeme Clifford showed the opening sequence to some friends before filming resumed on the Venice segment, and Clifford recalls it making a considerable impression. Axios: Don't look now, but DeSantis might be pouncing on CBS and 60 Minutes! flipped into CRYPTO CURRENCY & STOCKS. 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