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Please come to my website, MOLDY OLDIES MOVIES, at www dot moldyoldies dot biz, to order this item. Google Checkout is closing on November 20th 2013, PayPal is not an option, and my website has easy, better and much more secure credit card processing than either of them. AND, lots and lots of movies NOT on iOffer! Thank you!

The hero of DON’T LOOK NOW is a rational man who does not believe in psychics, omens or the afterlife. The film hammers down his skepticism and destroys him. It involves women who have an intuitive connection with the supernatural, and men who with their analytical minds are trapped in denial--men like the architect, the bishop and the policeman, who try to puzzle out the events of the story. The architect's wife, the blind woman and her sister try to warn them, but cannot.
#Nicolas Roeg's 1973 film remains one of the great horror masterpieces, working not with fright, which is easy, but with dread, grief and apprehension. Few films so successfully put us inside the mind of a man who is trying to reason his way free from mounting terror. Roeg and his editor, Graeme Clifford, cut from one unsettling image to another. The movie is fragmented in its visual style, accumulating images that add up to a final bloody moment of truth.
The movie takes place entirely on late autumn days when everything is grey and damp and on the edge of frost. It opens in the country cottage of John and Laura Baxter (Donald Sutherland and Julie Christie), who are curled up before the fire, working, while their children play outside. There is never a moment when this scene in the British countryside seems safe or serene.
The little girl Christine, wearing a shiny red raincoat, plays near a pond. Inside, her father studies slides of Venetian churches. Her brother runs his bicycle over a pane of glass, breaking it. Her father looks up sharply, as if sensing the sound. Christine throws her ball into the pond. Her father spills a glass, and a blood-like stain spreads across the surface of a slide--a slide showing the red hood of a raincoat in a Venetian church. Shots show Christine's raincoat reflected upside down in the pond. Something causes John to look up, run from the house, and then find his daughter's body beneath the water. He lifts her up with an animal cry of grief.
Venice, that haunted city, has never been more melancholy than in DON’T LOOK NOW. It is like a vast necropolis, its stones damp and crumbling, its canals alive with rats. The cinematography, by Anthony B. Richmond and an uncredited Roeg, drains it of people. There are a few shots, on busy streets or near the Grand Canal, when we see residents and tourists, but during the two sustained scenes where John and Laura are lost (first together, later separately) there is no one else about, and the streets, bridges, canals, dead ends and wrong turns fold in upon themselves. Walking in Venice, especially on a foggy winter light, is like walking in a dream.

Or a nightmare.


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