Don't Look Now

I like horror movies. Really, I do. It's one genre where the film has to be really, really abhorrently terrible for me to actually be bored, as most bad horror movies at least provide a few laughs. Despite, or perhaps due to, my affinity for the horror genre, I find it nigh impossible to find films that are unsettling. "Don't Look Now", a film responsible in many ways for my becoming a film buff, is such a film, not for its 'disturbing' or gory content, but for its subtle suggestions, insinuations, and especially for the thick, tense, gloomy atmosphere that director Nicolas Roeg so brilliantly creates and maintains.

By consistently maintaining "Don't Look Now" as a character-driven script with recurring themes and motifs the writers of this film, Allan Scott and Chris Bryant who adapted their screenplay from the short story by Daphne DuMaurier (Rebecca), ensure that the 'jump moments' are never hollow or empty. Really, there are many moments here where you see a fleeting glimpse of creepy imagery that so frequently come off as desperate and stupid, but in "Don't Look Now" the same moments are so tied to the mythology the film develops and the thematic content of the film that they are actually meaningful and essential.

Of course, no comment on or discussion of "Don't Look Now" is complete without commentary on the famous love scene. Yes, it's surprisingly explicit, but people who dwell on the weirdness and explicitness of the scene are largely, hugely missing the point. Roeg initially included the scene as a last minute addition to balance out the scenes of the couple arguing, but through masterful editing from Graeme Clifford (under the creative supervision of Roeg, obviously) the scene is turned into an essential part of the film, not only bizarrely erotic and tender, but also creepy, unsettling, and sad. Roeg intercuts the scene with images of the two dressing, preventing a moment of pure togetherness in the scene, changing the dimensions of and artistic motivation behind the sex scene drastically and definitely for the better.

Anthony B. Richmond, a once great cinema photographer (gone from working on "The Kids are Alright" to "Dumb and Dumber: When Harry Met Lloyd" these days) photographs this film beautifully with the strong creative involvement of director Nicolas Roeg. The score by Pino Donaggio is creepy, evocative, interesting, and sometimes even unpredictable. The unusual and innovative editing of the film is a crucial part of its resounding success, creating creepy moments out of nothing. Some of the acting is (deliberately) exaggerated for effect and mostly excellent.

With its creepy atmosphere, innovative editing, strong characters, good writing, and brilliant, unsettling final montage, "Don't Look Now" is director Nicolas Roeg's finest accomplishment and is deservedly regarded as one of the finest British films of all time, but I'd go a bit further and say it is likely a strong contender for the title of best British film, period.

10/10