Review of Don't Look Now (1936) by Kevin W — 26 Jan 2008

Don't Look Now, arguably the high point of Roeg's career was the first film that developed the template of graphic sex, psychologically flawed characters, disjointed narratives, and technical virtuosity, that he's used pretty much ever since to varying degrees. Roeg is one of the UK's finest ever film makers, a maverick genius who alternates between the brilliant and the awful. Still, at this point he was on a real hot streak, with Walkabout and The Man Who Fell to Earth either side of Don't Look Now.

The synopsis is quite widely known, as is the denouement, which has been parodied and paid homage to several times, though it still delivers a knockout punch every time you see it. What roeg does is change the image you have in your head of Venice, one of Europe's most beatiful and romantic cities, which becomes a grim and deserted place (it was filmed in off season) with danger lurking just around the corner - helped by Pino Dinaggio's score.

The best horror films unsettle you for what you don't see, not what you do, and Don't Look Now teases and tempts you with things you think you glimpse, but you're never sure you do. Though the famous sex scene between Sutherland and Christie remains its frame of reference for most, this is one of the best films to be made on these shores. Superb.