A STUDY IN SCARLET

By Raymond Benson

Red is the dominant force in Nicolas Roeg’s Don’t Look Now, a magnificently rendered drama about psychic premonition, death, and grief. Some would say it’s a horror film, and indeed it is truly creepy and atmospheric in the way most good ghost stories are presented.

Those familiar with Roeg’s work will recognize his signature arty editing and striking eye for composition. He began his career in cinema as a cinematographer (he worked on Lawrence of Arabia, The Masque of the Red Death, Fahrenheit 451, Casino Royale (’67), Far from the Madding Crowd, among many others) before venturing into directing. After co-directing Performance (1970) and helming Walkabout (1971) solo, he delivered what could very well be his masterpiece in Don’t Look Now.

Starring Julie Christie and Donald Sutherland as a married couple that loses a child in a drowning accident at the beginning of the story, Roeg’s picture examines how their grief is at first somewhat overcome by their own strong love for each other, but is then exploited by seemingly predestined tragedy. The setting of Venice is picturesque and beautiful, but at the same time dark and foreboding in its labyrinth of canals, narrow streets and alleys, and decaying architecture. When the couple begins to see a “child” wearing the same red slicker that their daughter was wearing when she drowned, things become very strange—especially after they meet a blind psychic woman who tells Christie that her daughter is still with them.

The editing screams of 1970s art house fare, but it still works. Of note is that sex scene, often called the most erotic sex scene in cinema history and one that has been plagued by rumors that Sutherland and Christie really “did it” in front of the camera (the rumors are NOT true). The editing cuts back and forth from the nude couple in bed to them getting dressed to go out, which is striking in its uniqueness and originality. Actually, it’s not a sex scene, but rather a real love scene—for I can’t think of another picture in which the love between a married man and woman is displayed so honestly. Kudos to both actors for the trust they obviously had in each other.

Pino Donaggio’s score adds a haunting poignancy to the proceedings, and cinematographer Anthony Richmond paints the imagery with a deft eye for color...and there’s that ever-sinister RED that keeps popping up with a multitude of meanings. Roeg’s direction is much more than an exercise in style, and the truthful performances by Christie and Sutherland elevate the film to greatness.

Criterion’s new 4K digital restoration (approved by Roeg himself, now in his eighties) is first class. Extras include a new documentary featuring interviews with Christie, Sutherland, Richmond, and co-screenwriter Allan Scott; interviews with Steven Soderbergh and Danny Boyle on Roeg’s work; a Q&A with Roeg from 2003; a new conversation between editor Graeme Clifford and film historian Bobbie O’Steen; a 2002 documentary on the making of the film; and a 2006 interview with composer Donaggio.

Don’t Look Now is arguably not only one of the finest British films of the 70s—it’s one of the greatest British films ever. Don’t Miss It.

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CRITERION BONUS REVIEW:

“A DAY IN THE COUNTRY” (1936—but released 1946; Directed by Jean Renoir)

The Criterion Collection has released A Day in the Country, Jean Renoir’s short film (40 minutes) that was shot in 1936, abandoned as unfinished, and then edited and released by its producer ten years later without Renoir’s involvement. Based on a short story by Guy de Maupassant, the picture is a light tale about a Parisian family that decides to spend an afternoon in the country—only to have the wife and daughter wooed by two randy countrymen.

Renoir fans will certainly want to check this out, but in my opinion, when compared to Renoir’s great works such as Grand Illusion or The Rules of the Game, this is fluff. More interesting are the extras, which include a90-minute compilation of outtakes from the film and footage that shows Renoir at work. This is exceptional stuff and worth the price of admission.

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