Donald Sutherland says Don't Look Now sex scene with Julie Christie 'WAS NOT real' | Daily Mail Online comments Actor Donald Sutherland has emphatically denied an assertion that he and actress Julie Christie actually had sex during a graphic love scene in the 1973 film Don't Look Now. In a book called Famous Players: A Tale Of Movies, The Mob, (And Sex), former Variety editor Peter Bart claims he was on the film's set and saw the two stars engaging in real sex. But 75-year-old Sutherland totally rejects Bart's claim, calling it 'mendacious'. In an email sent to the New York Daily News, he said the claim was: 'Not true. None of it. Not the sex. Not him witnessing it.' On-screen chemistry: Donald Sutherland and Julie Christie cosy up in the heated love scene in Don't Look Now The sex scene between Julie Christie and Donald Sutherland has long been the subject of conjecture over whether it was real He added: 'From beginning to end there were four people in that room. No one else.

Wires under the locked door led out side and this was twenty years before video monitors.' The four people he was referring to were himself and Christie, director Nicolas Roeg and cinematographer Anthony Richmond. Unsurprisingly, it is one of the most notorious ‘did they or didn’t they?’ moment in movie history. So passionate was the love scene between Christie and Sutherland that ever since there has been speculation the pair were actually having sex. The stars have always maintained the steaminess was down to good acting and inspired direction in what was an unscripted improvisation. Sixties sex siren: Julie Christie wearing lacy night gown in a sultry pose with a cup of tea Bart's graphic account reveals how he visited the Venice set as a young Paramount Pictures executive on what he calls that ‘auspicious day’. As he arrived, the director Nicolas Roeg reportedly told him: ‘Good day to come by’, Mr Bart says. At first he claims his mind drifted off for a few moments as he sat watching the filming but then he suddenly focused on the actors, who were both completely naked.

‘It was clear to me they were no longer simply acting: they were ****ing on camera,’ writes Mr Bart, according to a report in the Los Angeles-based Hollywood Reporter which obtained an advance copy of his book, called ‘Infamous Players: A Tale of Movies, the Mob, (and Sex)’. Mr Bart says he then whispered to Roeg: ‘Nic, don’t they expect you to say “cut”?’, to which Roeg replied: ‘I just want to be sure I have the coverage.’ On-screen chemistry: Julie Christie and Donald Sutherland in the 1973 film Don't Look Now. A new book has said their sex scene WAS real The film starts with the death of the couple's daughter, played by Sharon Williams. The majority of the film, including the famous sex scene, was shot in Venice This apparently prompted Mr Bart to comment on what he could see going on and to say: ‘That’s beyond coverage.’ It has long been rumoured in the movie world that the love-making was real – and have even claimed that out-takes from the scene were viewed in private Beverly Hills screening rooms.

British actress Miss Christie, 69, won an Oscar in 1965 for the John Schlesinger film Darling, although her most famous performances were in Dr Zhivago, also 1965, and Don’t Look Now. She and Canadian Mr Sutherland, now 75, were in their 30s and at the height of their careers when the latter, a psychological thriller adapted from a short story by Daphne du Maurier, was released amid considerable controversy over the sex scene, which was unusually graphic for the time. Miss Christie later said she found the scene difficult to film and once said: ‘People didn’t do scenes like that in those days. I just went blank and Nic [Roeg] shouted instructions. ‘I hardly knew Donald then. But, apart from being a bloody good actor, he is a responsible one and he took responsibility for the scene, helping me through it.

‘Making love on camera is such hard work that there is no time for the libido to take over.’ In another anecdote from his new book, due out in May, Mr Bart claims Warren Beatty, who had a serious relationship with Miss Christie, demanded that the sex scene be re-edited because it was too graphic. Miss Christie turned her back on Hollywood in the Seventies when her affair with Beatty ended and has since described being a celebrity as ‘like always having chewing gum stuck in your hair’. She earned an Oscar nomination in 2008 for her poignant portrayal of an Alzheimer’s sufferer in Away From Her. Neither she nor Mr Sutherland, whose also had memorable roles in MASH and Ordinary People among many other films, commented on the claims made in Mr Bart’s book. In a 2005 interview, Donald Sutherland insisted their realistic romp was the result of quality editing. ‘Julie and I lay side by side on the bed, Nic yelled instructions, "Donald kiss Julie’s breast, Julie tilt your head back". ‘What made that scene wonderful to people was the editing. The audience never ended up being a voyeur, they watched a cinematic collage and were reminded of themselves.

That’s what it made it sexy.’ AN OSCAR-WINNING PSYCHOLOGICAL THRILLER The 1973 film, directed by Nicolas Roeg, was adapted from Daphne du Maurier's supernatural thriller. Sutherland and Christie play a married couple, John and Laura Baxter, struggling to overcome the death of their young daughter, Christine, who drowned at their English country home. The majority of the film is set in Venice, where Laura encounters two elderly sisters, one of whom is blind and claims to be psychic and in contact with their dead daughter, and John begins seeing what looks like a small child wearing a red coat similar to the one Christine was wearing when she died. When Laura returns to England where their son has been hurt in an accident, John imagines he sees her and the sisters as part of a funeral procession. He follows the sisters, believing they may have abducted Laura, but he learns that she has been in England all along. A final glimpse of the figure in the red coat leads him to a deserted palazzo and the realisation that his sightings have been premonitions of a grisly end.

The film was nominated in seven categories at the 27th British Academy Film Awards - including Best Film, Director, Actor and Actress - with Anthony B. Richmond winning the Oscar for Best Cinematography. Don’t Look Now | FilmNav Don’t Look Now Starring: Julie Christie, Donald Sutherland, Hilary Mason Screenwriter: Daphne Du Maurier, Allan Scott, Chris Bryant Running Time: 110 mins Summary One of the creepiest films of all time, which does no favours whatsoever for the Venice tourist board. Forget the terrifying red riding hooded dwarf. The city of Venice is depicted as something far more disturbing here. A 5 star classic, and one of the greatest horror films ever made. Along with Walkabout and Performance, this is Roeg at his finest. Don’t Look Now is a 1973 occult thriller film directed by Nicolas Roeg. Adapted from the short story by Daphne du Maurier, it stars Julie Christie and Donald Sutherland as a married couple whose lives become complicated after meeting two elderly sisters in Venice, one of whom claims to be clairvoyant and informs them that their recently deceased daughter is trying to contact them to warn them of danger.

While Don’t Look Now observes many conventions of the thriller genre, its primary focus is on the psychology of grief, and the effect the death of a child can have on a relationship. Its emotionally convincing treatment of the grief process is often singled out as a trait not usually present in films featuring supernatural plot elements. As well as the unusual handling of its subject matter, Don’t Look Now is renowned for its atypical but innovative editing style, and its use of recurring motifs and themes. The film often employs flashbacks and flashforwards in keeping with the depiction of precognition, but some scenes are intercut or merged to alter the viewer’s perception of what is really happening. It also adopts an impressionist approach to its imagery, often presaging events with familiar objects, patterns and colours using an associative editing technique, turning them into portents. Originally causing controversy on its intitial release due to an explicit and—for the time—very graphic sex scene between Christie and Sutherland, its reputation has grown considerably in the years since, and it is now acknowledged as a modern classic and an influential work in horror and British film.

Plot Some time after the drowning of their young daughter, Christine (Sharon Williams), in a tragic accident at their English country home, John Baxter (Donald Sutherland) and his wife, Laura (Julie Christie), are staying in Venice where John has been contracted by a bishop (Massimo Serato) to restore an ancient church. Laura encounters two elderly sisters at a restaurant where she and John are dining, one of whom is blind and claims to be psychic and in contact with the Baxters’ deceased daughter. The blind sister, Heather (Hilary Mason), tells Laura she can see Christine and describes the attire she was wearing at the time of the accident, and that Christine is happy. Shaken, Laura returns to her table, where she faints. Laura is taken to hospital, where she later tells John what the sisters told her. John is sceptical but pleasantly surprised by the positive change in Laura’s demeanour. Later in the evening after returning from the hospital, John and Laura engage in passionate sexual intercourse. Afterwards, they go out to dinner where they get lost and briefly become separated.

John catches a glimpse of what looks like a small child (Adelina Poerio) wearing a red coat similar to the one Christine was wearing when she died. The next day, Laura meets with the sisters, who hold a séance to try to contact Christine. She returns to the hotel and tells John that Christine has said he is in danger and must leave Venice. John loses his temper with Laura, but that night they receive a telephone call informing them that their son (Nicholas Salter) has been injured in an accident. Laura departs for England, while John stays on to complete the restoration. Under the assumption that Laura is in England, John is shocked when later that day he spots her on a barge that is part of a funeral cortege, accompanied by the two sisters. Concerned about his wife’s mental state and with reports of a serial killer at large in Venice, he reports Laura’s disappearance to the police. The inspector (Renato Scarpa) investigating the killings is suspicious of John and has him followed.

After conducting a futile search for Laura and the sisters—in which he again sees the child-like figure in the red coat—John contacts his son’s boarding school to enquire about his condition, only to discover Laura is already at the school. After speaking to her to confirm she really is in England, a bewildered John returns to the police station to inform the police he has found his wife. In the meantime the police have found the sisters and brought them in for questioning, so an apologetic John offers to escort Heather back to her hotel to rejoin her sister, Wendy (Clelia Matania). On returning to the hotel, Heather goes into a trance as John is leaving. On his way out, John catches another glimpse of the mysterious figure in red, and this time pursues it. Coming out of her trance, Heather beseeches her sister to go after John, sensing that something terrible is about to happen to him, but she is unable to catch up with him. Meanwhile, John has followed the elusive figure to a deserted palazzo, and having cornered it, realises too late that the strange sightings he has been experiencing were premonitions of a grisly end.

Themes Don’t Look Now ostensibly is an occult thriller,[1] but the genre conventions of the Gothic ghost story primarily serve to explore the minds of a grief-stricken couple.[2] The film’s director, Nicolas Roeg, was intrigued by the idea of making ‘grief into the sole thrust of the film’: “Grief can separate people…Even the closest, healthiest relationship can come undone through grief”.[3] The presence of Christine, the Baxters’ deceased daughter, weighs heavily on the mood of the film, as she and the nature of her death are constantly recalled through the film’s imagery: there are regular flashbacks to Christine playing in her red coat as well as the sightings of the mysterious child-like figure also wearing a red coat which bears a likeness to her; the constant association of water with death is maintained via a serial-killer sub-plot, which sees victims periodically dragged from the canals; there is also a poignant moment when John fishes a child’s doll out of a canal just as he did with his daughter’s body at the beginning of the film.[4] Water and the colour red are recurring motifs.

The associative use of recurring motifs foreshadows key events in the film, often utilised in an impressionist style, combined with unorthodox editing techniques.[5] In Daphne du Maurier’s novella it is Laura that wears a red coat, but in the film the colour is used to establish an association between Christine and the elusive child-like figure that John keeps catching glimpses of.[6][7] Du Maurier’s short story actually opens in Venice following Christine’s death from meningitis, but the decision was taken to change the cause of death to drowning and to include a prologue to exploit the water motif.[8] The threat of death from falling is also ever present throughout the film: besides Christine falling into the lake, Laura is taken to hospital after her fall in the restaurant, their son Johnny is injured in a fall at boarding school, the bishop overseeing the church restoration informs John that his father was killed in a fall, and John himself is nearly killed in a fall during the renovations.[9] Glass is frequently used as an omen that something bad is about to occur: just before Christine drowns, John knocks a glass of water over, and their son, Johnny, breaks a pane of glass; as Laura faints in the

 restaurant she knocks glassware off the table, and when John almost falls to his death in the church, a plank of wood shatters a pane of glass; finally, shortly before confronting the mysterious red clad figure, John asks the sisters for a glass of water, a piece of symbolism that prefigured Christine’s death.[5] The plot of the film is preoccupied with misinterpretation and mistaken identity: when John sees Laura on the barge with the sisters, he fails to realise it is a premonition and believes Laura is in Venice with them.[10] John himself is mistaken for a Peeping Tom when he follows Laura to the séance,[11] and ultimately he mistakes the mysterious red-coated figure for a child.

The concept of doppelgängers and duplicates feature prominently in the film: reproductions are a constantly recurring motif ranging from reflections in the water, to photographs, to police sketches and the photographic slides of the church John is restoring.

Laura comments in a letter to their son that she can’t tell the difference between the restored church windows and the “real thing”, and later in the film John attempts to make a seamless match between recently manufactured tiles and the old ones in repairing an ancient mosaic.[5] Roeg describes the basic premise of the story as principally being that in life “nothing is what it seems”,[3] and even decided to have Donald Sutherland’s character utter the line—a scene which required fifteen takes.[12] Communication is a theme that runs through much of Nicolas Roeg’s work, and figures heavily in Don’t Look Now.[13] This is best exemplified by the blind psychic woman, Heather, who communicates with the dead, but it is presented in other ways: the language barriers are purposefully enhanced by the decision to not include subtitles translating the Italian dialogue into English, so the viewer experiences the same confusion as John.[14] Women are presented as better at communicating than men: besides the psychic being female, it is Laura who stays in regular contact with their son, Johnny;[15] when the Baxters receive a phone call informing them of Johnny’s accident at the boarding school, the headmaster’s inarticulateness in explaining the

 situation causes his wife to intercept and explain instead.[9] The bishop (who has commissioned John to undertake the restoration), also somewhat cryptically comments that “we have stopped listening to God”.[16] Much has been made of the fragmented editing of Don’t Look Now, and Nicolas Roeg’s work in general.

Time is presented as “fluid”, where the past, present and future can all exist in the same timeframe.[8] John’s premonitions merge with the present, such as at the start of the film where the mysterious red-coated figure is seemingly depicted in one of his photographic slides, and when he “sees” Laura on the funeral barge with the sisters and mistakenly believes he is seeing the present, but in fact it is a vision of the future.[10] The most famous use of this fragmented approach to time is during the love scene, in which the scenes of John and Laura having sex are intercut with scenes of them dressing afterwards to go out to dinner.[2][6] After John is attacked by his assailant in the climactic moments, the preceding events depicted during the course of the film are recalled through flashback, which may be perceived as his life flashing before his eyes.[17] At a narrative level the plot of Don’t Look Now can be regarded as a self-fulfilling prophecy: it is John’s premonitions of his death that set in motion the events leading up to his death.[10] According to the editor of the film, Graeme Clifford, Nicolas Roeg regarded the film as his “

exercise in film grammar”.[18] Inspirations Don’t Look Now is particularly indebted to Alfred Hitchcock, exhibiting several characteristics of the director’s work.

The jump cut following Christine’s death from Laura’s scream to the screech of a drill references a cut in The 39 Steps, when a woman’s scream cuts to the whistle of a steam train.[19] When John reports Laura’s disappearance to the Italian police he inadvertently becomes a suspect in the murder case they are investigating—an innocent man being wrongly accused and pursued by the authorities is a common Hitchcock trait.[20] The film also takes a Hitchcockian approach to its protagonist’s psychology by manifesting it in plot developments: John repeatedly becomes separated from Laura and is looking for her, first in the maze of alleyways in Venice when going out to dinner, then when he follows her to the séance but goes to the wrong room, and when he thinks he sees her with the sisters on the barge; psychologically, John really became separated from his wife when Christine drowned and has been looking for her ever since.[14] Nicolas Roeg had employed the fractured editing style of Don’t Look Now on his previous films, Performance and Walkabout, but it was originated by editor Antony Gibbs on Petulia.

Roeg served as the cinematographer on Petulia, which incidentally also starred Julie Christie, and Gibbs went on to edit Performance and Walkabout for Roeg.[21] Roeg’s use of colour—especially red—can be traced back to earlier work: both Performance and Walkabout feature scenes where the whole screen turns red, similar in nature to the scene during Christine’s drowning when the spilt water on the church slide causes a reaction that makes it—along with the whole screen—turn completely red.[22] The mysterious red-coated figure and its association with death has a direct parallel with an earlier film Roeg worked on as cinematographer, The Masque of the Red Death, which depicted a red clad Grim Reaper character.[21] The fleeting glimpses of the mysterious red-coated figure possibly draw on Proust: in Remembrance Of Things Past, while in Venice the narrator catches sight of a red gown in the distance, which brings pack painful memories of his lost love.[6] Besides Proust, other possible literary influences include Borges and Nietzsche; Pauline Kael in her review comments that “Roeg comes closer to getting Borges on the screen than those who have tried it directly”,[23] while Mark

 Sanderson in his BFI Modern Classics essay on the film, finds parallels with Nietzsche’s Beyond Good and Evil.

[10] Production Don’t Look Now was produced by Peter Katz through London based Casey Productions and Rome based Eldorado Films, and was independently financed.[24] The script based on the short story by Daphne du Maurier was offered to Nicolas Roeg by scriptwriter Allan Scott, who had co-written the screenplay with Chris Bryant.[25] Julie Christie and Donald Sutherland were cast in the principal roles and filming took place in England and Italy, starting in December 1972 and finishing in early 1973.[26] Development and pre-production Julie Christie attended a séance as part of her preparation for the role of Laura. Don’t Look Now was to be Nicolas Roeg’s third directorial feature following Performance and Walkabout. Although real-life couple Natalie Wood and Robert Wagner were suggested for the parts of Laura and John Baxter, Roeg was eager to cast Julie Christie and Donald Sutherland from the very start. Initially engaged by other projects both actors unexpectedly became available. Christie liked the script and was keen to work with Roeg who had served as cinematographer on Fahrenheit 451, Far from the Madding Crowd and Petulia in which she had starred.

Sutherland also wanted to make the film but had some reservations in regards to the depiction of clairvoyance in the script. He felt it was handled too negatively and believed that Don’t Look Now should be a more “educative film”, and that the “characters should in some way benefit from ESP and not be destroyed by it”. Roeg was resistant to any changes and issued Sutherland with an ultimatum.[26] Roeg wanted Julie Christie to attend a séance prior to filming. Leslie Flint, a direct voice medium based in Notting Hill, invited them to attend a session which he was holding for some American parapsychologists, who were coming over to observe him. Roeg and Christie went along and sat in a circle in the pitch dark and joined hands. Flint instructed his guests to “uncross” their legs, which Roeg subsequently incorporated into the film.[12] Adelina Poerio was cast as the fleeting red-coated figure after Roeg saw her photo at a casting session in Rome.

Standing at only 4’2″ tall, she had a career as a singer.[25] Renato Scarpa was cast as Inspector Longhi, despite not being able to speak English and had no idea what he was saying in the film.[27] Filming Filming began in England in December 1972, breaking off for Christmas, and resuming in January 1973 for seven more weeks in Italy.[26] Shooting the drowning sequence was particularly problematic: Sharon Williams, who played Christine, became hysterical when submersed in the pond, despite the rehearsals at the swimming pool going well. A farmer on the neighbouring land volunteered his daughter who was an accomplished swimmer, but refused to be submersed when it came to filming.

In the end, the scene was filmed in a water tank using three girls.[25] 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.[18] The Venice locations included the Europa Hotel—although the Baxters’ suite was located at the Bauer Grunwald (which better accommodated the cameras)—and the Santo Nicolo dei Mendici, a church on the outskirts of Venice. Finding an appropriate church proved difficult: after visiting most of the churches in Venice, the Italian location manager suggested constructing one in a warehouse. The discovery of the Santo Nicolo dei Mendici was particularly fortuitous since it was currently being renovated and the scaffolding was already in place, the circumstances lending themselves well to the plot of the film. Roeg decided not to use traditional tourist locations to purposefully avoid a “travel documentary” look. Venice turned out to be a difficult place to film in, mainly due to the tides which caused problems with the continuity and transporting equipment.[28] The scene set in the church where Laura lights a candle for Christine was mostly improvised.

Originally intended to show the gulf between John and Laura’s mental states—John’s denial and Laura’s inability to let go—the script included two pages of dialogue to illustrate John’s unease at Laura’s marked display of grief. After a break in filming to allow the crew to set up the equipment, Donald Sutherland returned to the set and commented that he didn’t like the church, to which Julie Christie retorted that he was being “silly”, and the church was “beautiful”. Roeg felt that the exchange was more true to life in terms of what the characters would actually say to each other, and that the scripted version was “overwritten”, so opted to ditch the scripted dialogue and included the real-life exchange instead.[12] During the scene when John almost falls to his death while restoring the mosaic in St Nicholas’s church and ends up dangling by a rope, Donald Sutherland’s life was actually put in danger. The stuntman refused to film the scene because the insurance wasn’t in order, so Sutherland ended up performing the stunt instead. Sutherland was attached to a kirby wire hidden from view—as a safety measure—in case he should fall.

Stunt co-ordinator, Vic Armstrong, after viewing the scene some time later, informed Sutherland that the wire was not designed for that purpose, and the spinning around would have damaged the wire to the extent it would have snapped if Sutherland had let go of the rope.[29] Prior to filming the funeral scene at the end of the film, Roeg suggested to Julie Christie that she should smile during the scene. Christie was initially sceptical, but Roeg felt it wouldn’t make sense for the character to be heartbroken if she believed her husband and daughter were together in the afterlife.[18] Scoring The score was written by Pino Donaggio, a native Venetian who was a popular singer at the time (he had a hit with lo Che Non Vivo which was covered by Dusty Springfield in 1966 as You Don’t Have to Say You Love Me); prior to Don’t Look Now, Donaggio had never scored a film. Ugo Mariotti, a producer on the film, spotted Donaggio on a Vaporetto on the Grand Canal, and believing it to be a “sign” contacted him to see if he would be interested in working on the film.

Donaggio was sceptical at first because he didn’t understand why they would be interested in someone who had no experience of scoring films. Donaggio had no interest in making soundtracks for films at the time, but was introduced to Nicolas Roeg who decided to try him out and asked him to write something for the beginning of the film. Roeg was enthusiastic about the result but the London based producers were resistant to hiring someone who had no background in films. The film’s financiers were pleased with Donaggio’s work and overruled the producers. As well as composing the score, Donaggio performed a substantial portion of it himself. The piano pieces were performed by Donaggio, despite the fact that he was not very accomplished at playing the piano. The piano pieces are usually associated with Christine in the film, and Roeg wanted the pieces to have an innocent sound reminiscent of a little girl learning to play the piano. Donaggio claims that since he was not very good at playing the piano, the pieces had an unsure style to them, perfect for the effect they were trying to capture. The only disagreement over the musical direction of the film was for the score accompanying the love scene.

Donaggio composed a grand orchestral piece, but Roeg thought the effect was overkill, and wanted it toned down. In the end the scene just used a combination of the piano, the flute, an acoustic guitar and an acoustic bass guitar. The piano was played by Donaggio again, who also played the flute; in contrast to his skill as a pianist, Donaggio was a renowned flautist, famous for it at the conservatory. Donaggio conceded that the more low-key theme worked better in the sequence and ditched the high strings orchestral piece, reworking it for the funeral scene at the end of the film. Donaggio won a “best soundtrack of the year” award for his work on the film, which gave him the confidence to quit his successful singing career and embark on a career scoring films. Donaggio became a regular composer for Brian De Palma films and credits Nicolas Roeg with giving him his first lesson in writing film scores, and expressed a desire to work with him again.[30] The love scene controversy Don’t Look Now has become famous for a sex scene involving Julie Christie and Donald Sutherland, which caused considerable controversy prior to its release in 1973.

British tabloid, the Daily Mail, observed at the time “one of the frankest love scenes ever to be filmed is likely to plunge lovely Julie Christie into the biggest censorship row since Last Tango in Paris“. The scene was unusually graphic for the period, including a rare portrayal of cunnilingus in a mainstream film.[2] Christie commented that “People didn’t do scenes like that in those days”, and that she found the scenes difficult to film: “There were no available examples, no role models…I just went blank and Nic [Roeg] shouted instructions”. The scene caused problems with censors on both sides of the Atlantic. The American censor advised Nicolas Roeg explicitly that “We cannot see humping. We cannot see the rise and fall between thighs”. The scene’s much celebrated fragmented style, in which scenes of the couple having sexual intercourse are intercut with scenes of the couple post-coitally getting dressed to go out to dinner, partly came about through Roeg’s attempt to accommodate the concerns of the censors: “They scrutinised it and found absolutely nothing they could object to. If someone goes up, you cut and the next time you see them they’re in a different position, you obviously fill in the gaps for yourself.

But, technically speaking, there was no ‘humping’ in that scene.” In the end, Roeg only cut nine frames from the sequence, and the film was awarded an ‘R rating’ in the United States.

In Britain, the British Board of Film Classification judged the uncut version to be “tasteful and integral to the plot”, and a scene in which Donald Sutherland’s character performing oral sex on Christie’s character is clearly visible was permitted, but it was still given an ‘X rating’—an adults only certificate usually reserved for pornographic films.[2][31] The scene remained controversial for some years after its release, with the BBC cutting the scene completely when they premiered it on television, causing a flood of complaints from viewers.[12][32] 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.[33][34][35] Producer Michael Deeley claimed on BBC Radio 4’s Desert Island Discs that Warren Beatty had flown to London and demanded that the sex scene—featuring then girlfriend Julie Christie—be cut from the film.[36] The rumours were seemingly confirmed in 2011 by former Variety editor Peter Bart, who was a Paramount executive at the time.

In his book, Infamous Players: A Tale of Movies, the Mob, (and Sex), Bart says he was on set on the day the scene was filmed and could clearly see Sutherland’s penis moving in and out of Christie.[37] Sutherland subsequently issued a statement through his publicist, Catherine Olim, at PMK*BNC stating that the claims were not true, and that Bart did not witness the scene being filmed.

Peter Katz, the film’s producer, corroborated Sutherland’s account that the sex was not authentic.[38] 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.[3] Theatrical releases Don’t Look Now—marketed as a “psychic thriller”[39]—received its world premiere in Britain on 16 October 1973, as the top half of a double bill.[24] The Wicker Man was its accompanying ‘B’ feature and—like Don’t Look Now—also went on to achieve great acclaim.[8] The two films have thematic similarities, and both end with the films’ protagonists being led to their preordained fates by a red clad ‘child’ they believe to be helping.[1] 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.[40] On completion of the restoration in 2001, the film was given another theatrical release.[41] Home media Don’t Look Now has had several home video releases, on both V

HS and DVD formats.

Optimum Releasing released a special edition DVD in the UK, in 2006.

The DVD included an introduction by Alan Jones, an audio commentary by director Nicolas Roeg, an interview with the composer of the score, Pino Donaggio, and a documentary featurette about the making of the film.[42] Critical response and awards At the time of its initial release, Don’t Look Now was generally well received by critics,[34] although some criticised it for being “arty and mechanical”.[33] Jay Cocks for Time, wrote that “Don’t Look Now is such a rich, complex and subtle experience that it demands more than one viewing”,[43] while Variety commented that the film’s visual flourishes made it “much more than merely a well-made psycho-horror thriller”.[44] Pauline Kael writing for The New Yorker was more reserved in her praise, considering the film to be “the fanciest, most carefully assembled enigma yet put on the screen” but that there was a “distasteful clamminess about the picture”,[23] while Gordon Gow of Films and Filming felt that it fell short of the aspirations of Nicolas Roeg’s previous two films, Performance and Walkabout, but it was nevertheless a thriller of some depth.[2] Vincent Canby, reviewer

 for The New York Times, on the otherhand, criticised the film for a lack of suspense which he put down to a twist that comes halfway through rather than at the end, and at which point it “stops being suspenseful and becomes an elegant travelogue that treats us to second-sightseeing in Venice”.

Canby also suggested that second sight was not convincing on screen, since it appeared simply like flash-forward which is a standard story-telling device in films, and concluded that “Not only do you probably have better things to do, but so, I’m sure, do most of the people connected with the film.”[45] British critics were especially enthusiastic about Nicolas Roeg’s direction. In the view of Tom Milne of Monthly Film Bulletin, Roeg’s combined work on Performance, Walkabout and Don’t Look Now put him “right up at the top as film-maker”.[2] George Melly similarly wrote in The Observer that Roeg had joined “that handful of names whose appearance at the end of the credit titles automatically creates a sense of anticipation”.[1] Penelope Houston for Sight & Sound also found much to appreciate in Roeg’s direction: “Roeg deploys subtle powers of direction and Hitchcockian misdirection”.[2] American critics were similarly impressed with Roeg’s work on the film. 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”.

Cocks also felt that the film was a marked improvement on the short story by Daphne du Maurier, noting that a reading “makes one appreciate Roeg and Screenwriters [Allan] Scott and [Chris] Bryant all the more. Film and story share certain basic elements of plot and an ending of cruel surprise. The story is detached, almost cursory. Roeg and his collaborators have constructed an intricate, intense speculation about levels of perception and reality.”[43] 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”,[39] while Pauline Kael labelled him “chillingly chic” in hers.[23] Even Vincent Canby, whose opinion of the film was negative overall, praised Roeg for being able to “maintain a sense of menace long after the screenplay has any right to expect it.”[45] Julie Christie and Donald Sutherland also received praise for their performances.

Variety considered Sutherland to be at his most subdued but also at his most effective, while Christie does her “best work in ages”.[44] 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.[43] Canby considered the “sincerity of the actors” to be one of the better aspects of the film,[45] while Kael found Christie especially suited to the part, observing she has the “anxious face of a modern tragic muse.”[46] The use of Venice locations was highly praised.

Roeg’s use of Venice was also praised, with Roger Ebert finding that he “uses Venice as well as she’s ever been used in a movie”,[39] and Canby also noted Venice is used to great effect: “He gets a great performance from Venice, which is all wintery grays [sic], blues and blacks, the color of the pigeons that are always underfoot.”[45] Variety also found much to admire about the editing, writing that it is “careful and painstaking (the classically brilliant and erotic love-making scene is merely one of several examples) and plays a vital role in setting the film’s mood.”[44] Daphne du Maurier was pleased with the adaptation of her short story, and wrote to Nicolas Roeg to congratulate him for capturing the essence of John and Laura’s relationship.[19] The film wasn’t received well by Venetians, particularly the councillors who were afraid it would scare away tourists.[30] Don’t Look Now was nominated in the Best Film, Direction, Actor, Actress, Sound Track, Cinematography and Film Editing categories at the 27th British Academy Film Awards, with Anthony B.

Richmond winning for Best Cinematography.[47][48] It was also nominated in the Best Motion Picture category at the 1974 Edgar Allan Poe Awards.[49] Modern critical opinion The reputation of Don’t Look Now has grown since its release and it is now regarded as a key work in horror cinema.[8] It has led to some critics re-evaluating their original opinions of it: Roger Ebert, nearly thirty years after his original review, states that he has come to an “accommodation” with his reservations about what he terms the “admitted weakness of the denouement”.

Having gone through the film shot by shot, he now considers it a “masterpiece of physical filmmaking, in the way the photography evokes mood and the editing underlines it with uncertainty.”[50] Don’t Look Now is now considered a classic British film, and when the British Film Institute in 1999 polled 1000 people who work across the film and television industry, the film was ranked eighth on their list of top 100 British films of the 20th century.[51] A similar list organised by Time Out London in 2011, in which 150 film industry professionals were polled, saw Don’t Look Now ranked in first place.[52] When submitting his list for Sight & Sound’s traditional decennial ‘greatest films’ poll in 2002, British TV and radio critic, Mark Kermode, had Don’t Look Now in fifth place,[53] and on Rotten Tomatoes—a review aggregator website—Don’t Look Now has a 95% ‘fresh’ rating.[54] Influence Don’t Look Now has been much admired by and an influence on subsequent filmmakers.[55] Danny Boyle, director of Slumdog Million

aire and Trainspotting, cites Nicolas Roeg as a key influence on his work and counts Don’t Look Now among his favourite films.[56][57] Alfonso Cuarón, director of Children of Men and Harry Potter and the Prisoner of Azkaban, had Don’t Look Now on the list of top ten British films he compiled for the Time Out British films poll.[58] Mark Gatiss, Steve Pemberton and Reece Shearsmith drew upon Don’t Look Now considerably for their television series, The League of Gentlemen; Pemberton ranks Don’t Look Now among the top three British horror films of the sixties and seventies, and says that he wants things he’s written to make audiences feel the way he felt when he watched the The Wicker Man and Don’t Look Now.[59][60][61] The imagery of Don’t Look Now has been directly referenced in several works.

The 2006 James Bond film, Casino Royale contains a small homage where James Bond pursues a female character through Venice, catching glimpses of her through the crowds wearing a red dress.[62] The Bruges set thriller, In Bruges, starring Colin Farrell, includes a number of explicit references;[63] director Martin McDonagh said that the “Venice of Don’t Look Now” was the template for the depiction of Bruges in his film,[64] and the film includes numerous thematic similarities, including one character stating that the film she is working on is a “pastiche of Don’t Look Now.” Flatliners, a 1990 supernatural thriller directed by Joel Schumacher, also draws explicitly on the red-coated child-like figure by having a character terrorised by a child wearing a red coat.[65] Coincidentally, the character who is being tormented is played by Kiefer Sutherland, Donald Sutherland’s son.

In the 2007 stage play of Don’t Look Now, written by Nell Leyshon and directed by Lucy Bailey, the play consciously bypassed the film and was a faithful adaptation of du Maurier’s short story, but the play did however retain the iconic red mac for the mysterious childlike figure’s attire from the film.[66][67] The influence of Don’t Look Now is less obvious but still apparent in Out of Sight, a 1998 film directed by Steven Soderbergh.

The famous intercutting technique used in the sex scene was used to similar effect in a sex scene featuring George Clooney and Jennifer Lopez.[68] The film’s imagery and stylistic techniques have served as an inspiration to films such as Schindler’s List directed by Steven Spielberg,[69] The Brood by David Cronenberg,[70] Memento by Christopher Nolan,[71] and The Dark starring Maria Bello and Sean Bean.[72] Nicolas Roeg has never been slow to draw upon the world of pop music for his work, casting Mick Jagger in Performance, David Bowie in The Man Who Fell to Earth and Art Garfunkel in Bad Timing, and in turn his films have served as inspiration for musicians.

Big Audio Dynamite wrote a tribute song to Roeg, called E=MC2, which included lyrical references to Don’t Look Now—among Roeg’s other films—along with clips from it in the video, directed by Roeg’s son, Luc,[73] while Sophie Ellis-Bextor performed a “pop synth homage” to Don’t Look Now with her song, Catch You.[74] References DON'T LOOK NOW | Strand Theatre DON'T LOOK NOW Special 35mm film screenings of this occult thriller! Adapted from the short story by Daphne du Maurier. Julie Christie and Donald Sutherland star as a married couple who travel to Venice following the recent accidental death of their daughter, after the husband accepts a commission to restore a church. They encounter two sisters, one of whom claims to be clairvoyant and informs them that their daughter is trying to contact them and warn them of danger. The husband at first dismisses their claims, but starts to experience mysterious sightings himself. DON’T LOOK NOW is renowned for it’s convincing depiction of grief, its innovative editing style, and its use of recurring motifs and themes.

Originally causing controversy on its initial release due to an explicit and—for the time—very graphic sex scene between Christie and Sutherland, its reputation has grown considerably in the years since, and it is now acknowledged as a modern classic and an influential work in horror and British film. Directed by Nicolas Roeg Don't Look Now: Amazon.ca: Julie Christie, Donald Sutherland: DVD By Kona TOP 1000 REVIEWER on June 14 2009 Format: DVD After the death of their daughter, Laura and John Baxter (Julie Christie and Donald Sutherland) are living in Venice, where John is restoring an old church. They meet a strange pair of women, one of whom is a psychic who claims she can see their dead little girl. This fascinates Laura, but then the woman says John is in mortal danger. This is a very well-made, creepy thriller. Filmed in the shadowy, twisted alleyways of Venice, it is chock full of red herrings and dripping with atmosphere that will keep you on the edge of your seat. Everyone seems to be a potential threat, every action is suspicious, even if we don't know why. And the soundtrack adds just the right eerie touch.

Christie is young and beautiful, Sutherland is moody and complex; they have great chemistry together and share a scene that surely should have been rated X. Based on a story by Daphne du Maurier, this is a dark, dreamlike movie filled with so much tension that you may think twice about that Venetian vacation. Highly recommended. 3 people found this helpful. Was this review helpful to you? Yes No Sending feedback... Thank you for your feedback. Sorry, we failed to record your vote. Please try again. By Bobby Gale on March 16 2014 Format: DVD Verified Purchase This was a first, for someone who regularly collects/buys discs. It was not clearly noted it was a PAL disc. Although it was intriguing at first, as I discovered after attempting play, & had never ever seen the message then displayed ... at first thought it was just a dirty used disc. Upon closer inspection of course, it was determined the seller had sold me a PAL region disc vs one that almost ALL players in North America would likely purchase/play. And when I brought it to the attention of the seller, they simply suggested they needed the disc returned for refund.

TBH, I have very little time, and frankly its not worth mine to re package & post it back to the UK seller. Shame. And again, the "NEW Dont Look Now Special edition"... I would say NOT new; it appeared used & was without cellophane. Oh well. Was this review helpful to you? Yes No Sending feedback... Thank you for your feedback. Sorry, we failed to record your vote. Please try again. By Doug Anderson on Dec 6 2001 Format: VHS Tape This is an under appreciated mystery. Partly because there were so many occult films made in the early 70's it was easy to lose track of the fact that some of them were much more interesting than others. Roeg is not interested in linear narrative. In fact as a cinematographer he is more interested in using unique shots to give us glimpses into his characters subjective goings on than he is in forwarding a plot. Some call that arty and maybe it is. Roeg began as a cinematographer as Stanley Kubrick did and like Kubrick he has learned that camera angles and lighting can tell as much story as events and dialogue, both are masters at the art of cinema so perhaps that makes them arty.

However Kubrick never forgot to tell a story while performing his magnificent art, Roeg sometimes forgets that without a story the technical sleights of hand sometimes seem wasted or meaningless. I think this film has a lot going for it and may be enjoyed for the way it looks and the way it keeps you wondering what is going on. I like that kind of movie, there were a lot of them in this time period perhaps it was the influence of the European directors. Roeg certainly learned some tricks from Antonioni, another brilliant technician. In addition to all the impressive and exciting cinematic devices being put to use there is a barely discernable story being told. Nothing or not much is literally told to us but we slowly gather impressions, bits of data, and possibilities begin to form as to what really is going on. The fact that it is based on a short story by a mystery writer should clue you in that a)its a mystery and b)there is not much story development. Read more › One person found this helpful. Was this review helpful to you? Yes No Sending feedback... Thank you for your feedback. Sorry, we failed to record your vote. Please try again. By A Customer on Jan.

31 2002 Format: VHS Tape The senseless and [accidental?] death of a child. Guilt? Dim, underlit streets and waterways of Venice. Visions of a small child wearing a hooded red raincoat....... Steamy sex.....A serial killer........A blind psychic.....warnings....and a very sharp straight razor, or two.....and lover's do learn..... A deliciously dark and brooding concept by auteur Nicholas Roeg ["Bad Timing"]of Daphne Du Maurier's vision of grieving parents Julie Christie and Donald Sutherland, recovering in Venice after the death of their only daughter. AND this movie has one of the best love-scenes ever recorded on film - excellent - not gratuitous or offensive. VENICE, though, is the Star of this work. Forget any Summer Holiday memories you might still have of this wonderous dreamcity, she really comes to life during the winter! To say more about the plot would be to betray the work, but if you like experiences along the lines of "The Innocents", perhaps even the original "Haunting" - see this one.

"Don't Look Now" is kind of the flip-side of Kate Hepburn's "Sunmmertime", even "Lover's Must Learn". It's an odd kaleidoscopic view of the city and its post midnight pulse - but be warned - stay in your hotel room - don't venture out on your own, especially after dark...........those Venetian walkways are still so dimly lit, never quite know what you might find in a doorway, or in the canals for that matter]. A companion-piece? The later "Comfort of Strangers" - equally disturbing, but a great double-bill! One person found this helpful. Was this review helpful to you? Yes No Sending feedback... Thank you for your feedback. Sorry, we failed to record your vote. Please try again. Don’t Look Now | The Loft Cinema Showtimes Nicholas Roeg’s (The Man Who Fell to Earth) atmospheric adaptation of Daphne DuMaurier’s classic story is a haunting mediation on grief, love and loss, told through a stylish lens of supernatural terror that makes this one of the most effective horror films of all-time.

“It remains one of the great horror masterpieces, working not with fright, which is easy, but with dread, grief and apprehension.” – Roger Ebert, Chicago Sun-Times In Don’t Look Now, an antiquities dealer (Donald Sutherland) and his wife (Julie Christie), in mourning after the accidental drowning of their young daughter, journey to elegantly decaying Venice during the off-season to help renovate a church, and also to hopefully repair their strained relationship. But their encounter with two strange sisters, one of whom is a blind clairvoyant, unleashes unsettling premonitions that may be warnings of danger courtesy of their deceased daughter, and soon the couple is pulled into a sinister excursion through the shadowy back alleys and deserted canals of the city, as well as onto the radar of a warped serial killer terrorizing Venice. A brilliant variation on Italy’s homegrown giallo thriller genre then enjoying major success in early 1970s European cinema, Don’t Look Now upended conventional horror film clichés with its surreally kaleidoscopic imagery, dreamlike editing and a bold willingness to let its mysteries remain mysterious on several levels of the reality vs. illusion spectrum.

Intensely erotic (the film garnered much controversy on its initial release thanks to a then-graphic, reportedly “real” love scene between Sutherland and Christie), nightmarishly macabre and emotionally stunning, Don’t Look Now (voted the best British film of all-time in a 2011 Time Out critics’ poll) is an unforgettable thriller with a real throat-grabber of an ending that stands as one of the greatest finales in horror movie history. (Dir. by Nicholas Roeg, 1973, UK/Italy, in English/Italian with subtitles, 110 mins., Rated R) Share Don't Look Now [DVD] [1973]: Amazon.co.uk: Julie Christie, Donald Sutherland, Hilary Mason, Clelia Matania, Massimo Serato, Renato Scarpa, Giorgio Trestini, Leopoldo Trieste, David Tree, Ann Rye, Nicholas Salter, Sharon Williams, Anthony B. Richmond, Nicolas Roeg, Anthony B.

Unger, Frederick Muller, Peter Katz, Allan Scott, Chris Bryant, Daphne Du Maurier: DVD & Blu-ray Don't Look Now [DVD] [1973] Â£8.00 & FREE Delivery in the UK on orders dispatched by Amazon over Â£20. Details Only 1 left in stock. This item can be delivered to your selected dispatch location in the United States. Details Sold by A ENTERTAINMENT and Fulfilled by Amazon . Fulfilment by Amazon (FBA) is a service Amazon offers sellers that lets them store their products in Amazon's warehouses, and Amazon directly does the picking, packing, shipping and customer service on these items. Something Amazon hopes you'll especially enjoy: FBA items are eligible for and for Amazon Prime just as if they were Amazon items. If you're a seller, you can increase your sales significantly by using Fulfilment by Amazon. We invite you to learn more about this programme . Note: This item is eligible for click and collect. Details Pick up your parcel at a time and place that suits you.

Choose from over 13,000 locations across the UK Prime members get unlimited deliveries at no additional cost How to order to an Amazon Pickup Location? Find your preferred location and add it to your address book Dispatch to this address when you check out 11 new from Â£7.98 32 used from Â£0.48 2 collectible from Â£5.00 LOVEFiLM By Post Don't Look Now [DVD] [1973] Â£8.00 & FREE Delivery in the UK on orders dispatched by Amazon over Â£20. Details Only 1 left in stock. Sold by A ENTERTAINMENT and Fulfilled by Amazon . Fulfilment by Amazon (FBA) is a service Amazon offers sellers that lets them store their products in Amazon's warehouses, and Amazon directly does the picking, packing, shipping and customer service on these items. Something Amazon hopes you'll especially enjoy: FBA items are eligible for and for Amazon Prime just as if they were Amazon items. If you're a seller, you can increase your sales significantly by using Fulfilment by Amazon. We invite you to learn more about this programme .

Frequently Bought Together Buy the selected items together This item:Don't Look Now [DVD] [1973] by Julie Christie DVD Â£8.00 Only 1 left in stock. Sold by A ENTERTAINMENT and sent from Amazon Fulfillment. FREE Delivery on orders over Â£20. Details Death In Venice [1971] [DVD] by Dirk Bogarde DVD Â£5.25 Only 1 left in stock. Sold by best_value_entertainment and sent from Amazon Fulfillment. FREE Delivery on orders over Â£20. Details What Other Items Do Customers Buy After Viewing This Item? Format: PAL Language: English, Italian Region: Region 2 (This DVD may not be viewable outside Europe. Read more about DVD formats. ) Aspect Ratio: 16:9 - 1.85:1 DVD Release Date: 29 July 2002 Run Time: 105 minutes Product Description Product Description Nicolas Roeg's chilling film, based on a short story by Daphne du Maurier, follows a married couple as they attempt to recover from the death of their young daughter.

John Baxter (Donald Sutherland) and his wife, Laura (Julie Christie), are staying in Venice in an attempt to find relief after the drowning of their daughter, Christine (Sharon Williams), in a tragic accident. However, the city appears to have an unfortunate effect upon the grieving John, who begins seeing a red-coated figure who resembles the dead child flitting around the local canals. The couple also happen across a pair of sisters who claim to have had visions of their daughter. According to the sisters, the child has been trying to contact John in an attempt to warn him that something terrible is about to happen... From Amazon.co.uk Don't Look Now was filmed in 1973 and based around a Daphne Du Maurier novel. Directed by Nicolas Roeg, it has lost none of its chill: like Kubrick's The Shining, its dazzling use of juxtaposition, colour, sound and editing make it a seductive experience in cinematic terror, whose aftershock lingers in daydreams and nightmares, filling you with uncertainty and dread even after its horrific climax. Donald Sutherland plays John Baxter, an architect, Julie Christie his wife: a well-to-do couple whose young daughter drowns while out playing.

Cut to Venice, out of season, where the couple encounter a pair of sisters, one of whom claims psychic powers and to have communicated with their dead daughter. The subsequent plot is as labyrinthine as the back streets of the city itself, down which Baxter spots a diminutive and elusive red-coated figure akin to his daughter, before being drawn into an almost unbearable finale. Don't Look Now is a Gothic masterpiece, with its melange of gore, mystery, ecstasy, the supernatural and above all grief, while the city of Venice itself--which thanks to Roeg and his team seems to breathe like a dark, sinister living organism throughout the movie--deserves a credit in its own right. Not just a magnificent drama but an advanced feat of cinema. --David Stubbs --This text refers to an out of print or unavailable edition of this title. Don't Look Now (Special Edition) [DVD] [1973]: Amazon.co.uk: Donald Sutherland, Julie Christie, Hilary Mason, Nicolas Roeg: DVD & Blu-ray Product Description Product Description After the tragic death of their daughter, John and Laura Baxter decide to work and recover in Venice.

Whilst John finds comfort in the restoration of an ancient gothic church, his wife befriends two mysterious sisters, one of whom is blind and claims to have the psychic ability to communicate with their dead child. She also claims that John has the same gift of “second sight” and his life is in grave danger. Unable to accept the idea of anything supernatural, John is immediately suspicious of the sister’s true intentions and their control over his vulnerable wife. But John’s fate is finally sealed with the appearance of a mysterious figure bearing an uncanny likeness to his tragic daughter. One of the most chilling, tragic and unforgettable horror thrillers you will ever encounter, Don’t Look Now is a masterpiece of suspense. Directed by cinematic visionary Nicolas Roeg (Performance, The Man Who Fell To Earth) and starring Hollywood icons Julie Christie (Billy Liar, Dr Zhivago) and Donald Sutherland (M*A*S*H, Klute, Steelyard Blues), it is often cited as having one of the most memorable and nightmarish climaxes in movie history. From Amazon.co.uk Don't Look Now was filmed in 1973 and based around a Daphne Du Maurier novel.

Directed by Nicolas Roeg, it has lost none of its chill: like Kubrick's The Shining, its dazzling use of juxtaposition, colour, sound and editing make it a seductive experience in cinematic terror, whose aftershock lingers in daydreams and nightmares, filling you with uncertainty and dread even after its horrific climax. Donald Sutherland plays John Baxter, an architect, Julie Christie his wife: a well-to-do couple whose young daughter drowns while out playing. Cut to Venice, out of season, where the couple encounter a pair of sisters, one of whom claims psychic powers and to have communicated with their dead daughter. The subsequent plot is as labyrinthine as the back streets of the city itself, down which Baxter spots a diminutive and elusive red-coated figure akin to his daughter, before being drawn into an almost unbearable finale. Don't Look Now is a Gothic masterpiece, with its melange of gore, mystery, ecstasy, the supernatural and above all grief, while the city of Venice itself--which thanks to Roeg and his team seems to breathe like a dark, sinister living organism throughout the movie--deserves a credit in its own right. Not just a magnificent drama but an advanced feat of cinema.

--David Stubbs --This text refers to an out of print or unavailable edition of this title.

Question: The film 'Don't Look Now' with Julie Christie and Donald Sutherland was adapted from a book by whom?
Answer: Daphne du Maurier