There's no denying the sheer artistry of Don't Look Now. Whatever the film's shortcomings as a coherent piece of plotting - and there are plenty of issues on that front - it's hard not to be swept up in the haunting mood of the film, which often captures the feel of a waking dream or nightmare perfectly, pushing us into a slightly surreal and off-kilter version of reality where nothing quite makes sense or adds up correctly. Add to that the film's painful exploration of guilt and mourning, as our central couple copes with the death of their daughter, and you have all the ingredients for something truly spectacular. And, again, on a technical level, Don't Look Now succeeds incredibly well. The Venice setting provides an astonishing backdrop, and there are no shortage of incredible scenes, from a mishap on a hanging platform to the justly famous sex scene that becomes something more through the power of editing. But Don't Look Now is often lauded as a great horror movie, and on that level, it really never delivers. Yes, those last few minutes are pretty great, but they're also painfully nonsensical, and the sudden buildup comes out of nowhere and disappears almost as quickly. Don't Look Now is a true 1970's piece of filmmaking, and in some ways, I admire its refusal to be easily pigeonholed and the way it intertwines suspense, drama, and horror to become something more complex. But it's also fairly frustrating and often maddeningly unclear, and as great as those final moments are, they're so bizarre and random that it feels almost silly. In some ways, I can understand the film's reputation, but in others, I feel like it's something that nearly coheres but ultimately feels like a collection of great moments rather than a coherent whole.
- Josh Mauthe
- Josh Mauthe
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