John's Horror Banana-nanza Episode Fourty-Five: Don't Look Now
Donald Sutherland and Julie Christie's sex scene are probably why people remember this movie. Either that, or the unforgettable ending.
But what we have here, folks, is a long, disjointed film that hits its mark in some spots and misses in others. It is somewhat set in reality, but has an aura of the surreal to it.
John and Laura's child dies in the opening scene, and we flash forward to the couple living in Italy doing renovations on buildings and churches. Laura meets a psychic in a bathroom that tells her that her daughter is with her, just kind of hanging around. The details are close enough to convince Laura that she's telling the truth.
Throughout the film, John has near death experiences, and a killer is on the loose dumping bodies in the river. The two things seemingly occur independent of each other, until Laura has to go home to see their son.
Thinking she's already home, John sees Laura on a boat with the psychic, still in Italy. Eventually, he follows someone wearing a red coat similar to his dead daughter's coat around the city, with Laura in pursuit. And, when we find out who the red coat wearing figure is, well...
As I said, this movie borders on surreal. There is nothing supernatural going on, but at times, it does seem to be losing grip on the real. John's psychic link with his daughter may or may not be real, but in the beginning of the film, it does seem legit.
Nicolas Roeg directed the film in such a non-linear way that it requires second and third viewings to catch all the details, and his crazy use of colors and shadows really put a twist on a movie that otherwise would be bland.
And it sort of is too. There is a ton of potential in this movie, but it is fleshed out with a lot of bland. If you are going to buy it, make sure not to buy a DVD from the wrong region. Because, well, it won't play unless you're in Europe. Yeah. Found that out the hard way.
Don't watch if you don't know the ending.
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