Editing Don't Look Now

{{Short description|1973 film by Nicolas Roeg}}
{{About|the film|the short story by Daphne du Maurier from which it is adapted and the collection it appears in|Not After Midnight, and Other Stories|other uses}}
{{good article}}
{{Use dmy dates|date=April 2025}}
{{Use British English|date=November 2013}}
{{Use list-defined references|date=April 2023}}
{{Infobox film
| name           = Don't Look Now
| image          = Dont_look_movieposter.jpg
| caption        = Theatrical release poster
| director       = [[Nicolas Roeg]]
| screenplay     = {{plainlist|
* [[Allan Scott (Scottish screenwriter)|Allan Scott]]
* [[Chris Bryant (writer)|Chris Bryant]]
}}
| based_on       = {{based on|"[["Don't Look Now"|Don't Look Now]]"|[[Daphne du Maurier]]}}
| producer       = Peter Katz
| starring       = {{plainlist|
* [[Julie Christie]]
* [[Donald Sutherland]]
}}
| cinematography = [[Anthony Richmond]]
| editing        = [[Graeme Clifford]]
| music          = [[Pino Donaggio]]
| studio         = {{plainlist|
* Casey Productions
* Eldorado Films
}}
| distributor    = {{plainlist|
* [[British Lion Films]] (United Kingdom)
* F.A.R. International Films (Italy)<ref name=Archivio>{{cite web | title=A Venezia... un dicembre rosso shocking (1973) | work=Archivio del Cinema Italiano On-Line | url=http://www.archiviodelcinemaitaliano.it/index.php/scheda.html?codice=AG3441| access-date= 15 November 2019 }}</ref>
}}
| country        = {{plainlist|
* United Kingdom
* Italy<ref name="BFI (ftvdb)"/>
}}
| released       = {{Film date|1973|10|16|df=y}}
| runtime        = 110 minutes
| language       = English
| budget         = £566,501 ($1.3 million)
| gross          = 
}}

'''''Don't Look Now''''' ({{langx|it|A Venezia... un Dicembre rosso shocking|lit=In Venice... a shocking red December}}) is a 1973 English-language [[thriller film|thriller]] film<!-- PLEASE DO NOT ALTER THE GENRE WITHOUT DISCUSSING ON THE TALK PAGE--> directed by [[Nicolas Roeg]], adapted from [["Don't Look Now"|the 1971 short story]] by [[Daphne du Maurier]]. [[Julie Christie]] and [[Donald Sutherland]] portray Laura and John Baxter, a married couple who travel to Venice following the recent accidental death of their daughter, after John accepts a commission to restore a church. They encounter two sisters, one of whom claims to be [[Clairvoyance|clairvoyant]] and informs them that their daughter is trying to contact them and warn them of danger. John at first dismisses their claims, but starts to experience mysterious sightings himself.

''Don't Look Now'' is an exploration of the psychology of grief and the effect the death of a child can have on a relationship. The film is renowned for its innovative editing style, recurring motifs and themes, and for a controversial sex scene that was explicit for the era. It also 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 adopts an impressionist approach to its imagery, often presaging events with familiar objects, patterns and colours using associative editing techniques.

The film's reputation has grown in the years since its release and it is now considered a classic and an influential work in horror and British film.

== Plot ==
Some time after the drowning of their young daughter Christine in an accident at their English country home, John Baxter and his grief-stricken wife Laura travel to Venice where John has accepted a commission from a bishop to restore an ancient church. Laura encounters two elderly sisters, Heather and Wendy, at a restaurant where she and John are dining; Heather claims to be [[psychic]] and—despite being blind—informs Laura she is able to "see" the Baxters' deceased daughter. Shaken, Laura returns to her table, then faints.

Laura is taken to the hospital, where she later tells John what Heather told her. John is <!--BRITISH ENGLISH-->sceptical but pleasantly surprised by the positive change in Laura's demeanour. That evening after returning from the hospital, John and Laura have passionate sex. Afterwards, they go out to dinner, and en route get lost and briefly become separated. John catches a glimpse of a small figure wearing a red coat similar to the one Christine was wearing when she died.

The next day, Laura meets with Heather and Wendy, who hold a [[séance]] to try to contact Christine. When she returns to the hotel, Laura informs John that Christine said he is in danger and must leave Venice. John argues with Laura, but that night they receive a telephone call informing them that their son has been injured in an accident at boarding school. Laura departs for England, while John stays on to complete the restoration. Shortly afterwards, John is nearly killed in an accident at the church when the scaffold he is standing on collapses, and he interprets this as the "danger" foretold by the sisters.

Later that day, assuming that Laura is in England, John is shocked when he spots her on a passing boat in a funeral [[cortege]], accompanied by the sisters. Concerned about his wife's mental state and with reports of a serial killer at large in Venice, John reports Laura's seeming disappearance to the police. The inspector investigating the killings is suspicious of John and has him followed. After conducting a futile search for Laura and the sisters—during which he again sees the childlike figure in the red coat—John contacts his son's school to enquire about his condition, only to discover that Laura is actually there. 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 brought Heather in for questioning, and an apologetic John offers to escort her back to the hotel.

Shortly after returning to the hotel, Heather slips into a [[trance]]. John quickly leaves. Upon coming out of the trance, Heather pleads with her sister to go after John, sensing that something terrible is about to happen, but Wendy is unable to catch up with him. Meanwhile, John catches another glimpse of the mysterious figure in red and this time pursues it. He corners the figure in a deserted [[palazzo]] and approaches, believing it to be a child. The figure turns to face him, revealing that it is a hideous female dwarf. When John freezes in shock, the dwarf pulls out a meat cleaver and cuts his throat. Dying, John realises too late that the strange sightings he experienced were [[wikt:premonition|premonition]]s of his own murder and funeral.

== Analysis ==

=== Themes ===
''Don't Look Now'' is an [[occult]]-themed thriller<ref name="French (2006)"/> in which the conventions of the [[Gothic fiction|Gothic]] ghost story serve to explore the minds of a grief-stricken couple.{{sfn|Sanderson|1996|pp=21–23}} The film's director, Nicolas Roeg, was intrigued by the idea of making "grief into the sole thrust of the film", noting that "Grief can separate people ... Even the closest, healthiest relationship can come undone through grief."<ref name="O'Hagan (2006)"/> 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 childlike 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 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.{{sfn|Sanderson|1996|pp=30, 45 & 59}}

[[File:Don't Look Now 1.jpg|thumb|left|Water and the colour red are recurring motifs.]]
The associative use of recurring [[Motif (narrative)|motif]]s, combined with unorthodox editing techniques, foreshadows key events in the film.{{sfn|Sanderson|1996|pp=42–44}} 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 figure that John keeps catching glimpses of.<ref name="Bradshaw (2011)"/>{{sfn|Sanderson|1996|pp=10–11, 60}}<ref name="Morrison (2006)"/>  Du Maurier's 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.<ref name="Jones (2006)"/> 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.{{sfn|Sanderson|1996|p=48}} 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 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, an item with a symbolic connection to Christine's death.{{sfn|Sanderson|1996|pp=42–44}}

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.{{sfn|Sanderson|1996|pp=61–62}} John himself is mistaken for a [[Peeping Tom]] when he follows Laura to the séance,{{sfn|Sanderson|1996|p=16}} and ultimately he mistakes the mysterious red-coated figure for a child. The concept of [[doppelgänger]] 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.{{sfn|Sanderson|1996|pp=42–44}} Roeg describes the basic premise of the story as principally being that in life "nothing is what it seems",<ref name="O'Hagan (2006)"/> and even decided to have Donald Sutherland's character utter the line—a scene which required fifteen takes.{{sfn|Sanderson|1996|pp=76–78}}

Communication is a theme that runs through much of Nicolas Roeg's work, and figures heavily in ''Don't Look Now''.{{sfn|Sanderson|1996|p=12}}  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.{{sfn|Sanderson|1996|pp=25–27}} Women are presented as better at communicating than men: besides the [[Clairvoyance|clairvoyant]] being female, it is Laura who stays in regular contact with their son, Johnny;{{sfn|Sanderson|1996|p=47}}  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.{{sfn|Sanderson|1996|p=48}}

Much has been made of the fragmented editing of ''Don't Look Now'', and in Nicolas Roeg's work in general. Time is presented as 'fluid', where the past, present and future can all exist in the same timeframe.<ref name="Jones (2006)"/> 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.{{sfn|Sanderson|1996|pp=61–62}} A prominent 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.{{sfn|Sanderson|1996|pp=21–23}}<ref name="Bradshaw (2011)"/> 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.{{sfn|Sanderson|1996|pp=64–70}} 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.{{sfn|Sanderson|1996|pp=61–62}} According to the editor of the film, [[Graeme Clifford]], Nicolas Roeg regarded the film as his "exercise in film grammar".<ref name="Gregory (2002)"/>

=== Inspirations ===
''Don't Look Now'' is particularly indebted to [[Alfred Hitchcock]], exhibiting several characteristics of the director's work.<ref name="Morrison (2006)"/> The aural [[match cut]] following Christine's death from Laura's scream to the screech of a drill is reminiscent of a cut in ''[[The 39 Steps (1935 film)|The 39 Steps]]'', when a woman's scream cuts to the whistle of a steam train.{{sfn|Sanderson|1996|pp=14–15}} 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.{{sfn|Sanderson|1996|p=30}} The film also takes a [[Hitchcockian]] approach to its [[mise en scène]], by manifesting its protagonist's psychology in plot developments: in taking their trip to Venice the Baxters have run away from personal tragedy, and are often physically depicted as running to and from things during their stay in Venice; the labyrinthine geography of Venice causes John to lose his bearings, and he often becomes separated from Laura and is repeatedly shown to be looking for her—both physical realisations of what is going on in his head.{{sfn|Sanderson|1996|pp=25–27}}

Nicolas Roeg had employed the fractured editing style of ''Don't Look Now'' on his previous films, ''[[Performance (film)|Performance]]'' and ''[[Walkabout (film)|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.<ref name="Sinyard"/> 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.{{sfn|Sanderson|1996|pp=31–32}} 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 (1964 film)|The Masque of the Red Death]]'', which depicted a red clad [[Personifications of death|Grim Reaper]] character.<ref name="Sinyard"/> The fleeting glimpses of the mysterious red-coated figure possibly draw on [[Marcel Proust|Proust]]: in ''[[In Search of Lost Time|Remembrance of Things Past]]'', while in Venice, the narrator catches sight of a red gown in the distance which brings back painful memories of his lost love.<ref name="Bradshaw (2011)"/>

Besides Proust, other possible literary influences include [[Jorge Luis Borges|Borges]] and [[Friedrich Nietzsche|Nietzsche]]; [[Pauline Kael]] in her review comments that "Roeg comes closer to getting Borges on the screen than those who have tried it directly",<ref name="Kael (1973)"/> while Mark Sanderson in his [[British Film Institute|BFI]] Modern Classics essay on the film, finds parallels with Nietzsche's ''[[Beyond Good and Evil]]''.{{sfn|Sanderson|1996|pp=61–62}} The film's setting and production status has also drawn comparisons with ''[[giallo]]'' films, due to its structure, cinematic language and focus on the psychological makeup of its protagonists sharing many characteristics with the Italian subgenre, although Anya Stanley has noted that it lacks the [[Exploitation film|exploitational]] portrayal of violence and sexuality typically associated with the form.<ref name="Stanley (2019)" /> In this regard, Danny Shipka has noted that ''Don't Look Now'' bears similarities to [[Aldo Lado]]'s 1972 ''giallo'' ''[[Who Saw Her Die?]]'', in which an estranged couple (portrayed by [[George Lazenby]] and [[Anita Strindberg]]) investigate the drowning death of their daughter. In his view, Aldo "eliminat[es] a lot of the extreme gore and sex [associated with ''gialli''], but still manages to create an aura of uneasiness with his Venetian locales just as Roeg did a year later".{{sfn|Shipka|2011|p=110}}

== Production ==
''Don't Look Now'' was produced through London-based Casey Productions and Rome-based Eldorado Films, by producer Peter Katz and executive producer [[Anthony B. Unger]].{{sfn|Sanderson|1996|p=81}}<ref name="AFI" /> The script based on [["Don't Look Now"|the short story]] by [[Daphne du Maurier]] was offered to [[Nicolas Roeg]] by scriptwriter [[Allan Scott (Scottish screenwriter)|Allan Scott]], who had co-written the screenplay with [[Chris Bryant (writer)|Chris Bryant]],{{sfn|Sanderson|1996|pp=74–75}} while [[Julie Christie]] and [[Donald Sutherland]] were cast in the principal roles. Filming began in England in December 1972, breaking off for Christmas, and resuming in January 1973 for seven more weeks in Italy.{{sfn|Sanderson|1996|pp=17–19}}

{| class="floatright" style="padding: 1em; border-spacing: 1px; border: 1px solid darkgray; background-color: #F8F9FA; width:22em; font-size: 90%"
|-
! style="text-align: left;" | Actor
! style="text-align: left;" | Role <!-- or "Character" -->
|-
| [[Julie Christie]]
| Laura Baxter
|-
| [[Donald Sutherland]]
| John Baxter
|-
| [[Hilary Mason]]
| Heather
|-
| [[Clelia Matania]]
| Wendy
|-
| [[Massimo Serato]]
| Bishop Barbarrigo
|-
| [[Renato Scarpa]]
| Inspector Longhi
|-
| {{ill|Giorgio Trestini|it}}
| Workman
|-
| [[Leopoldo Trieste]]
| Hotel Manager
|-
| [[David Tree]]
| Anthony Babbage
|-
| Ann Rye
| Mandy Babbage
|-
| Nicholas Salter
| Johnny Baxter
|-
| Sharon Williams
| Christine Baxter
|-
| {{ill|Bruno Cattaneo|it}}
| Detective Sabbione
|-
| Adelina Poerio
| Dwarf
|}

=== Casting ===
''Don't Look Now'' was Roeg's third film as director, following ''[[Performance (film)|Performance]]'' (1970) and ''[[Walkabout (film)|Walkabout]]'' (1971). 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 (1966 film)|Fahrenheit 451]]'', ''[[Far from the Madding Crowd (1967 film)|Far from the Madding Crowd]]'' and ''[[Petulia]]'' in which she had starred. Sutherland also wanted to make the film but had some reservations about 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 [[Extrasensory perception|ESP]] and not be destroyed by it". Roeg was resistant to any changes and issued Sutherland an ultimatum.{{sfn|Sanderson|1996|pp=17–19}}

Roeg wanted Julie Christie to attend a [[séance]] prior to filming. [[Leslie Flint]], a [[Mediumship#Direct voice|direct voice]] [[Mediumship|medium]] based in Notting Hill, invited them to attend a session which he was holding for some American [[parapsychologist]]s, 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.{{sfn|Sanderson|1996|pp=76–78}}

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.{{sfn|Sanderson|1996|pp=74–75}} [[Renato Scarpa]] was cast as Inspector Longhi, despite not being able to speak English and so he had no idea what he was saying in the film.{{sfn|Sanderson|1996|p=49}}

=== Filming ===
The drowning scene and house exteriors were filmed in Hertfordshire at the home of actor [[David Tree]], who also plays the headmaster at the son's boarding school.{{sfn|Sanderson|1996|pp=17–19}} Shooting the 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 who refused to be submerged when it came to filming. In the end, the scene was filmed in a water tank using three girls.{{sfn|Sanderson|1996|pp=74–75}} 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.<ref name="Gregory (2002)"/>

The Venice locations included the Hotel Gabrielli Sandwirth—the lobby and exteriors standing in for the film's fictional Europa Hotel, although the Baxters' suite was located at the Bauer Grunwald (which better accommodated the cameras)—and the [[San Nicolò dei Mendicoli]] (the Church of St. Nicholas of the Beggars), located 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 San Nicolò was particularly fortunate since it was 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 continuity, and the transporting of equipment.{{sfn|Sanderson|1996|pp=19, 71–73}}<ref name="Reeves (2011)"/>

Filming the scene in which John nearly falls to his death while restoring the mosaic in San Nicolò church was also beset by problems, and resulted in Donald Sutherland's life being put in danger.  The scene entailed some of the scaffolding collapsing leaving John dangling by a rope, but the stuntman refused to perform the stunt because the insurance was not in order. Sutherland ended up doing it instead, and was attached to a [[kirby wire]] as a precaution in case he should fall. Some time after the film had come out, renowned stunt co-ordinator [[Vic Armstrong]] commented to Sutherland that the wire was not designed for that purpose, and the twirling around caused by holding on to the rope would have damaged the wire to the extent that it would have snapped if Sutherland had let go.<ref name="Cousins (2001)"/>

While many changes were due to the logistics of filming in Venice, some were for creative reasons, the most prominent being the inclusion of the love scene. 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.<ref name="O'Hagan (2006)"/> The scene set in the church where Laura lights a candle for Christine was also mostly improvised. Originally intended to show the gulf between John's 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 did not 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.{{sfn|Sanderson|1996|pp=76–78}}

The funeral scene at the end of the film was also played differently from what was originally intended. Julie Christie was supposed to wear a veil to hide her face, but prior to filming Roeg suggested to Christie that she should play it without the veil and smile throughout the scene. Christie was initially sceptical, but Roeg felt it would not make sense for the character to be heartbroken if she believed her husband and daughter were together in the afterlife.<ref name="Gregory (2002)"/>

=== Scoring ===
{{listen
|filename=Don't Look Now score.ogg
|title=Pino Donaggio – Don't Look Now
|description=Sample from "Laura's Theme"
}}
The [[Film score|score]] was composed 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 casting director on the film, spotted Donaggio on a [[Vaporetto]] on the [[Grand Canal (Venice)|Grand Canal]] in Venice, and believing it to be a "sign", contacted him to see if he would be interested in working on the film. Donaggio was reluctant at first because he did not understand why they would be interested in someone who had no experience of scoring films.<ref name="Gregory (2006)"/>

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 them 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.<ref name="Gregory (2006)"/>

The only disagreement over the musical direction of the film was for the score accompanying the love scene.  Donaggio composed a grand [[orchestra]]l piece, but Roeg thought the effect was excessive, 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 an accomplished flautist. 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.<ref name="Gregory (2006)"/>

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]], and credits Nicolas Roeg with giving him his first lesson in writing film scores, and expressed a desire to work with him again.<ref name="Gregory (2006)"/> Donaggio's score later achieved newfound recognition for its inclusion in the fourth episode of [[HBO]] series ''[[Euphoria (American TV series)|Euphoria]]''; music supervisor Jen Malone noted that the cues used were the most difficult to obtain out of all of the music used in the series.<ref name="Variety (2019)" />

== Release ==

=== Sex scene controversy ===
[[File:Don't Look Now love scene .ogg|thumb|thumbtime=13|upright=1.35|right|Sample from the love scene]]
''Don't Look Now'''s [[sex scene]] involving Julie Christie and Donald Sutherland caused considerable controversy before its release in 1973. British tabloid newspaper, the ''[[Daily Mail]]'', observed at the time that "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 depiction of [[cunnilingus]] in a mainstream film.{{sfn|Sanderson|1996|pp=21–23}}

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, saying, "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 [[Motion Picture Association of America film rating system|R rating]] in the United States. In Britain, the [[British Board of Film Censors]] judged the uncut version to be "tasteful and integral to the plot", and a scene in which Donald Sutherland's character can be clearly seen performing [[oral sex]] on Christie's character was permitted; it was given an [[X rating]]—an adults only certificate.{{sfn|Sanderson|1996|pp=21–23}}<ref name="Film4"/>

The sex scene remained controversial for some years after the film's release. The [[BBC]] cut it altogether when ''Don't Look Now'' premiered on UK television, causing a flood of complaints from viewers.{{sfn|Sanderson|1996|pp=76–78}}<ref name="Roeg (2008)"/> 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.<ref name="Morrison (2006)"/><ref name="Guthmann (1999)"/><ref name="Billson (2010)"/> [[Michael Deeley]], who oversaw the film's UK distribution, 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.<ref name="Clinton (2008)"/> The rumours were seemingly confirmed in 2011 by former ''[[Variety (magazine)|Variety]]'' editor [[Peter Bart]], who was a [[Paramount Pictures|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. Bart reiterated Warren Beatty's discontent, noting that Beatty had contacted him to complain about what he perceived to be Roeg's exploitation of Christie, and insisting that he be allowed to help edit the film.{{sfn|Bart|2011|pp=[https://books.google.com/books?id=FNouo7FETbYC&pg=PA92 92]–95}}<ref name="Fernandez (2011a)"/> Sutherland subsequently issued a statement through his publicist 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 entirely simulated.<ref name="Fernandez (2011b)"/>

=== Theatrical releases ===
''Don't Look Now''—marketed as a "psychic thriller"<ref name="Ebert (1973)"/>—was released in London's [[West End theatre|West End]] on 16 October 1973.{{sfn|Sanderson|1996|p=81}}<ref name="French (2006)"/> It was released nationwide a few weeks later as the [[Feature film|main feature]] of a [[Double feature|double bill]];<ref name="French (2006)"/> ''[[The Wicker Man (1973 film)|The Wicker Man]]'' was its accompanying [[B feature]] and—like ''Don't Look Now''—went on to achieve great acclaim.<ref name="Jones (2006)"/>  The two films have thematic similarities, and both end with their protagonists being led to preordained fates by a 'child' they believe to be helping.<ref name="French (2006)"/>

The film was among the top British titles at the UK box-office in 1974, second only to ''[[Confessions of a Window Cleaner]]'', and ranking in the top twenty of the year overall.{{sfn|Harper|2011|loc=({{Google books|NTmrBgAAQBAJ|online copy|page=211}})}}{{sfn|Barber|2013|loc=({{Google books|3QWnY9K1R50C|online copy|pg=PT97}})}} Michael Deeley, who was managing director of [[British Lion Films]] at the time of the film's release, said the film's US reception was hurt by [[Paramount Pictures]] rushing the film into cinemas too early, due to the unexpected failure of ''[[Jonathan Livingston Seagull (film)|Jonathan Livingston Seagull]]'';{{sfn|Deeley|2009|pp=99–104}} despite its mismanaged distribution, Peter Bart—from his time at Paramount—recalls it performing "fairly well" at the box office.{{sfn|Bart|2011|pp=[https://books.google.com/books?id=FNouo7FETbYC&pg=PA92 92]–95}} The film cost £566,501{{sfn|Chapman|2022|p=253}} (US$1.3 million){{sfn|Smith|2014|p=92}} to produce, and recouped most of its expenses before it was even released due to the sale of the US distribution rights to Paramount.{{sfn|Deeley|2009|pp=99–104}}

''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.<ref name="BBC (2000)"/> On completion of the restoration in 2001, the film was given another theatrical release.<ref name="Observer (2001)"/>

=== Home media ===
''Don't Look Now'' has been released on [[VHS]], [[Laserdisc]], [[DVD]], [[Blu-ray]] and [[Ultra HD Blu-ray]]. Extras include an introduction by film journalist [[Alan Jones (writer)|Alan Jones]], an audio commentary by director Nicolas Roeg, a retrospective documentary featurette ("Looking Back"), an extract from a 1980s documentary about Roeg ("Nothing is as it Seems"), and interviews with Donald Sutherland, composer Pino Donaggio ("Death in Venice"), scriptwriter Allan Scott, cinematographer Anthony Richmond and film director [[Danny Boyle]], as well as a "compressed" version of the film made by Boyle for a [[BAFTA]] tribute.<ref name="Home Cinema Choice"/><ref name="Optimum Releasing (2011)"/><ref name="Optimum Releasing (2010)"/>

A [[4K resolution|4K]] digital restoration (approved by Roeg) was released on DVD and Blu-ray in 2015, by the [[Criterion Collection]]. In addition to the "Death in Venice" and "Looking Back" featurettes which accompanied earlier editions, there is a conversation between editor Graeme Clifford and film writer [[Bobbie O'Steen]], an essay by film critic [[David Thomson (film critic)|David Thomson]] and a Q&A with Roeg at London's Ciné Lumière from 2003. Two new documentaries are also included: the first documentary, "Something Interesting", features interviews with Anthony Richmond, Donald Sutherland, Julie Christie and Allan Scott about the making of the film; the second, "Nicolas Roeg: The Enigma of Film", features interviews with Danny Boyle and fellow film-maker [[Steven Soderbergh]] discussing Roeg's cinematic style.<ref name="Criterion Collection (2015)"/>

A new 4K restoration—supervised by cinematographer Anthony Richmond—was released by [[StudioCanal]] in the standard and Ultra HD Blu-ray formats in 2019, and given a limited theatrical release. The StudioCanal release was accompanied by several new extras: a featurette about the restoration process featuring cinematographer Anthony Richmond; "Pass the Warning: Taking A Look Back at Nic Roeg's Masterpiece", a documentary featuring [[Brad Bird]], [[Andrew Haigh]] and Danny Boyle discussing Nicolas Roeg's body of work and visual style; "A Kaleidoscope of Meaning: Color in Don't Look Now", in which Anthony Richmond, [[David Cronenberg]] and [[Sarah Street]] discuss the use of colour in ''Don't Look Now''.<ref name="Atanasov (2019)" /><ref name="Billington (2019)" />

In the week following Donald Sutherland's death in June 2024, ''Don't Look Now'' was the eighth most popular film on streaming in the United States, according to Reelgood streaming guide.<ref name="Northrup (2024)" /><ref name="Reelgood (2024)" />

== Reception ==

=== Critical response and awards ===
At the time of its initial release, ''Don't Look Now'' was generally well received by critics,<ref name="Billson (2010)"/> although some criticised it for being "arty and mechanical".<ref name="Guthmann (1999)"/> [[Jay Cocks]] for ''[[Time (magazine)|Time]]'', wrote that "Don't Look Now is such a rich, complex and subtle experience that it demands more than one viewing",<ref name="Cocks (1973)"/> while ''[[Variety (magazine)|Variety]]'' commented that the film's visual flourishes made it "much more than merely a well-made psycho-horror thriller".<ref name="Variety (1973)"/> [[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",<ref name="Kael (1973)"/> 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.{{sfn|Sanderson|1996|pp=21–23}} [[Vincent Canby]], reviewer for ''[[The New York Times]]'', on the other hand, 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."<ref name="Canby (1973)"/>

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".{{sfn|Sanderson|1996|pp=21–23}} [[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".<ref name="French (2006)"/> [[Penelope Houston (film critic)|Penelope Houston]] for ''[[Sight & Sound]]'' also found much to appreciate in Roeg's direction: "Roeg deploys subtle powers of direction and Hitchcockian misdirection."{{sfn|Sanderson|1996|pp=21–23}} 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 novella, 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."<ref name="Cocks (1973)"/> [[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",<ref name="Ebert (1973)"/> while Pauline Kael labelled him "chillingly chic" in hers.<ref name="Kael (1973)"/> 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".<ref name="Canby (1973)"/>

[[File:Grand Canal south 2.jpg|thumb|left|The use of Venice locations was highly praised.]]
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".<ref name="Variety (1973)"/> 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.<ref name="Cocks (1973)"/> Canby considered the "sincerity of the actors" to be one of the better aspects of the film,<ref name="Canby (1973)"/> while Kael found Christie especially suited to the part, observing she has the "anxious face of a modern tragic muse".<ref name="Addiego (1998)"/>

Roeg's use of Venice was praised too, with Roger Ebert finding that he "uses Venice as well as she's ever been used in a movie",<ref name="Ebert (1973)"/> and Canby also noted Venice is used to great effect: "He gets a great performance from Venice, which is all wintery grays, blues and blacks, the color of the pigeons that are always underfoot."<ref name="Canby (1973)"/> ''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".<ref name="Variety (1973)"/>

Daphne du Maurier was pleased with the adaptation of her story, and wrote to Nicolas Roeg to congratulate him for capturing the essence of John and Laura's relationship.{{sfn|Sanderson|1996|pp=14–15}} The film was not received well by Venetians, particularly the councillors who were afraid it would scare away tourists.<ref name="Gregory (2006)"/>

At the [[27th British Academy Film Awards]], [[Anthony B. Richmond]] won for Best Cinematography, and ''Don't Look Now'' received further nominations in the Best Film, Direction, Actor, Actress, Sound Track and Film Editing categories.<ref name="BAFTA (1974)"/> It was also nominated in the [[List of Edgar Allan Poe Award for Best Motion Picture Screenplay winners|Best Motion Picture]] category at the 1974 [[Edgar Award|Edgar Allan Poe Award]]s.<ref name="Edgars (1974)"/>

=== Re-evaluation ===
The reputation of ''Don't Look Now'' has grown since its release and it is now regarded as a key work in horror cinema.<ref name="Jones (2006)"/> It was ranked 127th and 114th, respectively, in the 2012 and 2022 editions of ''[[Sight & Sound]]'''s [[decennial]] critics poll.<ref name="sight and sound (2012)"/><ref name="sight and sound (2022)"/>

Some critics who reviewed the film on its original release have offered re-evaluations. Roger Ebert, nearly thirty years after his original review, added ''Don't Look Now'' to his list of [[The Great Movies]], increasing the rating from three stars to his top rank of four stars. Ebert stated he had come to an "accommodation" with his reservations about what he termed the "admitted weakness of the denouement". Having gone through the film shot by shot, he came to the conclusion it is a "masterpiece of physical filmmaking, in the way the photography evokes mood and the editing underlines it with uncertainty". While the plot described in a brief summary would seem routine, it is the film's "visual style, acting, and mood that evoke its uncanny power [...''Don't Look Now''] works through apprehension, not plot or action."<ref name="Ebert (2002)"/>

''Don't Look Now'' is also well regarded by many film industry professionals. A survey of 1,000 people who work across the film and television industry, undertaken by the [[British Film Institute]] in 1999, saw the film ranked eighth on their list of [[BFI Top 100 British films|top 100 British films]] of the 20th century.<ref name="BFI (1999)"/> It also topped a similar list organised by ''[[Time Out (company)|Time Out]] London'' in 2011, in which 150 film industry professionals were polled.<ref name="Time Out (2011)"/> In 2012 ''Time Out'' also undertook a poll of the horror industry, in which more than 100 professionals who work within or have connections to the genre selected their favourite horror films, which saw ''Don't Look Now'' finish in twelfth position.<ref name="Time Out (2012)"/> It has also featured in ''Sight & Sound's'' directors poll—run in tandem with their critics poll—placing in the top 100 in 2012 and the top 50 in 2022.<ref name="sight and sound (2012)"/><ref name="sight and sound (2022)"/>

=== Influence ===
{{Quote box | quote = I just thought that it was a beautifully shot, really adult look at real-life horror stories, and there was a great degree of sexuality in it that, as a young kid, when I saw it, I remember I was very startled by. It felt very brave to me, and I think it still holds up. Nick Roeg is a brilliant director. | source = Ryan Murphy on ''Don't Look Now''.<ref name="Radish (2011)"/> | align = right | salign = right | width = 20em; | bgcolor = #F0EAD6;}}
''Don't Look Now'' has been much admired by and an influence on subsequent filmmakers.  [[Danny Boyle]] cites Nicolas Roeg as a key influence on his work and counts it amongst his favourite films,<ref name="Jones (2009)"/><ref name="Empire (2007)"/> considering it to be "one of the masterpieces of the last century".<ref name="Freer (2019)" /> [[Mark Gatiss]], [[Steve Pemberton]], [[Reece Shearsmith]], and [[Jeremy Dyson]] drew upon ''Don't Look Now'' considerably for their television series ''[[The League of Gentlemen]]''; Pemberton ranks it among the top three British horror films of the 1960s and 1970s, and says that he wants things he has written to make audiences feel the way he felt when he watched ''[[The Wicker Man (1973 film)|The Wicker Man]]'' and ''Don't Look Now''.<ref name="Walsh (2005)"/><ref name="McLean (2001)"/><ref name="Cavendish (2005)"/> Similarly, [[Ryan Murphy (producer)|Ryan Murphy]] considers his television series ''[[American Horror Story]]'' to be a throwback to '60s and '70s psychological horror, citing ''Don't Look Now'', ''[[Rosemary's Baby (film)|Rosemary's Baby]]'' and ''[[The Shining (film)|The Shining]]'' as particular examples.<ref name="Itzkoff (2011)"/> Thematic and narrative similarities with [[Lars von Trier]]'s ''[[Antichrist (film)|Antichrist]]'' have also been observed,<ref name="Emerson (2009)"/> with ''Antichrist's'' cinematographer, [[Anthony Dod Mantle]], commenting that he has watched ''Don't Look Now'' more times than any other film.<ref name="The Guardian (2009)"/> [[Fabrice Du Welz]], whose film ''[[Vinyan]]'' has often been compared to ''Don't Look Now'', has stated that it is a film he is "obsessed with", and one of his favourites,<ref name="Carnevale"/> while [[Lynne Ramsay]] cited it as an influence on ''[[We Need to Talk about Kevin (film)|We Need to Talk about Kevin]]'', which incidentally is also produced by Roeg's son, Luc.<ref name="Thorpe (2011)"/> [[Ami Canaan Mann]] has also acknowledged she was influenced by atmospheric thrillers such as ''[[Picnic at Hanging Rock (film)|Picnic at Hanging Rock]]'' and ''Don't Look Now'' while directing her debut feature, ''[[Texas Killing Fields (film)|Texas Killing Fields]]'',<ref name="Farber (2011)"/> and [[Ari Aster]] acknowledged that it was a key influence on ''[[Hereditary (film)|Hereditary]]''.<ref name="TIFF (2018)" />

Its imagery has been directly referenced in several works. The 2006 [[James Bond film]], ''[[Casino Royale (2006 film)|Casino Royale]]'' contains a small [[Homage (arts)|homage]] where [[James Bond (character)|James Bond]] pursues a female character through Venice, catching glimpses of her through the crowds wearing a red dress.<ref name="Sony Pictures (2006)"/> The Belgium set thriller, ''[[In Bruges]]'', starring [[Colin Farrell]], includes a number of explicit references;<ref name="Horne (2008)"/> director [[Martin McDonagh]] said that the "Venice of ''Don't Look Now''" was the template for the depiction of Bruges in his film,<ref name="Hammond (2008)"/> 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 childlike figure by having a character terrorised by a child wearing a red coat;<ref name="James (1990)"/> 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 (director)|Lucy Bailey]], the play made a conscious effort to bypass the film and be a faithful adaptation of du Maurier's short story, but it did however retain the iconic red mac from the film as worn by the elusive childlike figure.<ref name="Walker (2007)"/><ref name="Cavendish (2007)"/>

Its influence is less obvious but still apparent in ''[[Out of Sight]]'', a 1998 film directed by [[Steven Soderbergh]]. The intercutting technique used in the sex scene was used to similar effect in a sex scene featuring [[George Clooney]] and [[Jennifer Lopez]].<ref name="Morrison (2006)"/><ref name="Clarke (2006)"/>  The film's imagery and stylistic techniques have served as an inspiration to films such as ''[[Schindler's List]]'' directed by [[Steven Spielberg]],<ref name="O'Sullivan (2000)"/> ''[[Memento (film)|Memento]]'' by [[Christopher Nolan]],{{sfn|Mottram|2011|loc=({{Google books|yGUIxwIvMJoC|online copy|page=172}})}}{{sfn|Kania|2009|p=133}}<ref name="Gilbey (2011-3-10)"/> ''[[The Dark (2005 film)|The Dark]]'' by [[John Fawcett (director)|John Fawcett]],<ref name="French (2006-4-9)"/> ''[[Frozen (2005 film)|Frozen]]'' by [[Juliet McKoen]],<ref name="French (2006-1-29)"/> ''[[Submarine (2010 film)|Submarine]]'' by [[Richard Ayoade]],<ref name="Bradshaw (2011-3-17)"/> and ''[[Snow White and the Huntsman]]'' by [[Rupert Sanders]].<ref name="Dodes (2012-5-24)"/> [[David Cronenberg]] regards it as the most frightening film he has seen,<ref name="Cronenberg (2014)"/> and its influence has been detected on Cronenberg's ''[[The Brood]]''.<ref name="Ebert (1979)"/> Paranormal investigator, [[Danny Robins]], presenter of the radio series  ''[[Uncanny (radio series)|Uncanny]]'', is a huge admirer, describing it as "a really beautiful, amazingly shot, artistic movie, and yet, it still manages to be really bloody scary". Robins wears a red coat in the television spin-off of his show as a homage.<ref name="Taylor (2023)" />

Roeg frequently drew upon the world of pop music for his work, casting [[Mick Jagger]] in ''[[Performance (film)|Performance]]'', [[David Bowie]] in ''[[The Man Who Fell to Earth (film)|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 (song)|E=MC<sup>2</sup>]]", which included lyrical references to ''Don't Look Now''—among Roeg's other films—along with clips from it in the video, directed by Luc Roeg,<ref name="Wood (2005)"/> while [[Sophie Ellis-Bextor]] performed a "pop synth homage" to ''Don't Look Now'' with her song, "[[Catch You]]",<ref name="Eyre (2007)"/> and portions of the film were sampled in the [[M83 (band)|M83]] song "America".<ref name="TheStar"/>

== References ==
{{reflist|refs=

<ref name="Addiego (1998)">
{{Cite news
  | last = Addiego
  | first = Walter
  | title = Basking in Christie's afterglow
  | work = [[San Francisco Chronicle]]
  | date = 6 February 1998
  | url = http://www.sfgate.com/news/article/Basking-in-Christie-s-afterglow-3105225.php
  | access-date = 21 February 2011 }}
</ref>

<ref name="AFI">
{{Cite news
  | title = Don't Look Now
  | work = [[AFI Catalog]]
  | publisher = American Film Institute
  | url = https://catalog.afi.com/Film/54952-DONT-LOOKNOW
  | access-date = 1 March 2021 }}
</ref>

<ref name="Atanasov (2019)">
{{Cite web
  | last = Atanasov
  | first = Svet
  | title = Don't Look Now Blu-ray Review
  | work = [[Blu-ray.com]]
  | date = 8 August 2019
  | url = https://www.blu-ray.com/movies/Dont-Look-Now-Blu-ray/223236/#Review
  | access-date = 23 January 2024
  | archive-url = https://web.archive.org/web/20221130221542/https://www.blu-ray.com/movies/Dont-Look-Now-Blu-ray/223236/#Review
  | archive-date = 30 November 2022 
  | url-status = live }}
</ref>

<ref name="BAFTA (1974)">
{{cite web
  | title = BAFTA Awards Search – Don't Look Now
  | publisher = [[British Academy of Film and Television Arts]]
  | url = http://awards.bafta.org/keyword-search?keywords=Don%27t+Look+Now
  | access-date = 8 April 2013 }}
</ref>

<ref name="BBC (2000)">
{{Cite news
  | title = More Breakfast at Tiffany's
  | work = [[BBC News]]
  | publisher = BBC
  | date = 20 September 2000
  | url = http://news.bbc.co.uk/2/hi/entertainment/933492.stm
  | access-date = 20 February 2011 }}
</ref>

<ref name="BFI (1999)">
{{cite web
  | title = The BFI 100: 1–10
  | publisher = [[British Film Institute]]
  | location =  [[London]]
  | year = 1999
  | url = http://old.bfi.org.uk/features/bfi100/1-10.html
  | archive-url = https://web.archive.org/web/20120803093901/http://old.bfi.org.uk/features/bfi100/1-10.html
  | url-status = dead
  | archive-date = 3 August 2012
  | access-date = 22 February 2011}}
</ref>

<ref name="BFI (ftvdb)">
{{cite web
  | title = "Don't Look Now" (1973)
  | work = Film & TV Database
  | publisher = [[British Film Institute]]
  | location = London
  | url = http://ftvdb.bfi.org.uk/sift/title/31673
  | access-date = 17 April 2012
  | archive-url = https://web.archive.org/web/20110809002839/http://ftvdb.bfi.org.uk/sift/title/31673
  | archive-date = 9 August 2011
  | url-status = dead
  }}</ref>

<ref name="Billington (2019)">
{{Cite web
  | last = Billington
  | first = Alex
  | title = New Trailer for 4K Restoration of Nicolas Roeg's Film 'Don't Look Now'
  | work = [[FirstShowing.net]]
  | date = 10 June 2019
  | url = https://www.firstshowing.net/2019/new-trailer-for-4k-restoration-of-nicolas-roegs-film-dont-look-now/
  | access-date = 23 January 2024
  | archive-url = https://web.archive.org/web/20190610201611/https://www.firstshowing.net/2019/new-trailer-for-4k-restoration-of-nicolas-roegs-film-dont-look-now/
  | archive-date = 10 June 2019
  | url-status = live }}
</ref>

<ref name="Billson (2010)">
{{Cite news
  | last = Billson
  | first = Anne
  | title = Don't Look Now: No 3 best horror film of all time
  | work = [[The Guardian]]
  | date = 22 October 2010
  | url = https://www.theguardian.com/film/2010/oct/22/dont-look-now-roeg-horror
  | access-date = 21 February 2011 }}
</ref>

<ref name="Bradshaw (2011)">
{{Cite news
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  | first = Peter
  | author-link = Peter Bradshaw
  | title = Don't Look Now and Roeg's red coat
  | work = [[The Guardian]]
  | date = 18 January 2011
  | url = https://www.theguardian.com/film/2011/jan/18/dont-look-now-red-coat
  | access-date = 18 February 2011 }}
</ref>

<ref name="Bradshaw (2011-3-17)">
{{Cite news
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  | first = Peter
  | author-link = Peter Bradshaw
  | title = Submarine – review
  | work = [[The Guardian]]
  | date = 17 March 2011
  | url = https://www.theguardian.com/film/2011/mar/17/submarine-review
  | access-date = 13 December 2011 }}
</ref>

<ref name="Canby (1973)">
{{Cite news
  | last = Canby
  | first = Vincent
  | author-link = Vincent Canby
  | title = Don't Look Now (1973) – Film:'Don't Look Now,' a Horror Tale:Donald Sutherland and Julie Christie in Leads The Cast Suspense Yarn Turns Into a Travelogue
  | work = [[The New York Times]]
  | date = 10 December 1973
  | url = https://www.nytimes.com/movie/review?res=9E0DEFD61239E73ABC4852DFB4678388669EDE
  | access-date = 21 February 2011 }}
</ref>

<ref name="Carnevale">
{{cite web
  | last = Carnevale
  | first = Rob
  | title = Vinyan – Fabrice du Welz interview
  | publisher = [[IndieLondon]]
  | url = http://www.indielondon.co.uk/Film-Review/vinyan-fabrice-du-welz-interview
  | access-date = 23 June 2011 }}
</ref>

<ref name="Cavendish (2005)">
{{Cite news
  | last = Cavendish
  | first = Dominic
  | title = Stepping into the big League
  | work = [[The Daily Telegraph|The Telegraph]]
  | date = 27 May 2005
  | url = https://www.telegraph.co.uk/culture/film/3642699/Stepping-into-the-big-League.html
  | access-date = 24 February 2011 }}
</ref>

<ref name="Cavendish (2007)">
{{Cite news
  | last = Cavendish
  | first = Dominic
  | title = Haunted by a spirit from the past
  | work = [[The Daily Telegraph|The Telegraph]]
  | date = 16 March 2007
  | url = https://www.telegraph.co.uk/culture/theatre/drama/3663803/Haunted-by-a-spirit-from-the-past.html
  | access-date = 28 March 2011 }}
</ref>

<ref name="Clarke (2006)">
{{Cite news
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  | first = Roger
  | title = Story of the Scene: 'Don't Look Now' Nicolas Roeg (1973)
  | work = [[The Independent]]
  | date = 1 December 2006
  | url = https://www.independent.co.uk/arts-entertainment/films/features/story-of-the-scene-dont-look-now-nicolas-roeg-1973-426443.html
  | access-date = 24 February 2011 }}
</ref>

<ref name="Clinton (2008)">
{{Cite news
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  | first = Jane
  | title = Day Beatty tried to ban sex scene....
  | work = [[Daily Express]]
  | date = 14 December 2008
  | url = http://www.express.co.uk/posts/view/75624/
  | access-date = 21 February 2011 }}
</ref>

<ref name="Cocks (1973)">
{{Cite magazine
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  | first = Jay
  | author-link = Jay Cocks
  | title = Cinema: Second Sight
  | magazine = [[Time (magazine)|Time]]
  | date = 10 December 1973
  | url = http://www.time.com/time/magazine/article/0,9171,908304-1,00.html
  | access-date = 21 February 2011 
  | archive-url= https://web.archive.org/web/20090905064924/http://www.time.com/time/magazine/article/0,9171,908304-1,00.html
  | archive-date= 5 September 2009 
  | url-status= dead
  |url-access=subscription  }}
</ref>

<ref name="Cousins (2001)">
{{Cite episode
  | credits      = [[Mark Cousins (film critic)|Mark Cousins]]
  | title        = Donald Sutherland
  | url          = http://www.bbc.co.uk/films/2001/03/19/sutherland_scene_by_scene_1_article.shtml
  | series       = Scene by Scene
  | series-link   = Scene by Scene
  | network      = [[BBC]]
  | station      = [[BBC Two]]
  | airdate      = 22 March 2001
  | minutes      = 15}}
</ref>

<ref name="Criterion Collection (2015)">
{{Cite press release
  | title = Don't Look Now (1973) – The Criterion Collection
  | year = 2014
  | publisher = [[The Criterion Collection]]
  | url = https://criterion.com/films/27928-don-t-look-now
  | access-date = 18 November 2014 
  | archive-url= https://web.archive.org/web/20221204161636/https://www.criterion.com/films/27928-dont-look-now
  | archive-date= 4 December 2022}}
</ref>

<ref name="Cronenberg (2014)">
{{Cite interview
  | last =  Cronenberg
  | first = David
  | subject-link= David Cronenberg
  | interviewer = Tim Lewis
  | title = David Cronenberg: 'My imagination is not a place of horror'
  | work = [[The Observer]]
  | date = 14 September 2014
  | url = https://www.theguardian.com/film/2014/sep/14/david-cronenberg-interview-my-imagination-not-a-place-of-horror
  | access-date = 14 September 2014 }}
</ref>

<ref name="Dodes (2012-5-24)">
{{Cite news
  | last = Dodes
  | first = Rachel
  | title = Snow White and The 'Sizzle Reel'
  | work = [[The Wall Street Journal]]
  | date = 24 May 2012
  | url = https://www.wsj.com/articles/SB10001424052702303610504577420692744547960
  | access-date = 2 July 2012 }}
</ref>

<ref name="Ebert (1973)">
{{Cite news
  | last = Ebert
  | first = Roger
  | author-link = Roger Ebert
  | title = Don't Look Now
  | work = rogerebert.com
  | publisher = [[Chicago Sun-Times]]
  | date = 20 December 1973
  | url = http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19731220/REVIEWS/312200301/1023
  | access-date = 20 February 2011 }}
</ref>

<ref name="Ebert (1979)">{{Cite news
  | last = Ebert
  | first = Roger
  | author-link = Roger Ebert
  | title = The Brood
  | work = rogerebert.com
  | publisher = [[Chicago Sun-Times]]
  | date = 5 June 1979
  | url = http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19790605/REVIEWS/906050301
  | access-date = 20 February 2011
  | archive-date = 18 July 2012
  | archive-url = https://archive.today/20120718021626/http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19790605/REVIEWS/906050301
  | url-status = dead
  }}</ref>

<ref name="Ebert (2002)">{{Cite news
  | last = Ebert
  | first = Roger
  | author-link = Roger Ebert
  | title = Don't Look Now (1974)
  | work = rogerebert.com
  | publisher = [[Chicago Sun-Times]]
  | date = 13 October 2002
  | url = http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20021013/REVIEWS08/210130301/1023
  | access-date = 22 February 2011
  | archive-date = 3 May 2008
  | archive-url = https://web.archive.org/web/20080503165111/http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20021013/REVIEWS08/210130301/1023
  | url-status = dead
  }}</ref>

<ref name="Edgars (1974)">{{cite web
  | work = TheEdgars.com
  | title = Edgars Database
  | format = Winners and nominees search on title: Don't Look Now
  | publisher = [[Mystery Writers of America]]
  | url = http://theedgars.com/edgarsDB/index.php
  | access-date = 21 February 2011
  | archive-date = 27 September 2018
  | archive-url = https://web.archive.org/web/20180927165310/http://www.theedgars.com/edgarsDB/index.php
  | url-status = dead
  }}</ref>

<ref name="Emerson (2009)">
{{Cite news
 |last        = Emerson
 |first       = Jim
 |title       = VIFF: Antichrist: A pew in satan's church
 |work        = Jim Emerson's scanners: blog
 |publisher   = [[Chicago Sun-Times]]
 |date        = 5 October 2009
 |url         = http://blogs.suntimes.com/scanners/2009/10/viff_antichrist_a_pew_in_satan.html
 |access-date  = 23 June 2011
 |url-status     = dead
 |archive-url  = https://web.archive.org/web/20110929070708/http://blogs.suntimes.com/scanners/2009/10/viff_antichrist_a_pew_in_satan.html
 |archive-date = 29 September 2011
 |df          = dmy-all
}}
</ref>

<ref name="Empire (2007)">
{{Cite news
  | title = The Danny Boyle Webchat Transcript
  | work = [[Empire (film magazine)|Empire]]
  | date = 5 April 2007
  | url = https://empireonline.com/features/dannyboylewebchat/
  | archive-url = https://web.archive.org/web/20070416074247/https://www.empireonline.com/features/dannyboylewebchat/
  | archive-date = 16 April 2007 }}
</ref>

<ref name="Eyre (2007)">
{{Cite news
  | last = Eyre
  | first = Hermione
  | title = Ice queen: Sophie Ellis-Bextor, pop's coolest diva
  | work = [[The Independent]]
  | date = 28 April 2007
  | url = https://www.independent.co.uk/arts-entertainment/music/features/ice-queen-sophie-ellisbextor-pops-coolest-diva-446443.html
  | access-date = 24 February 2011
  | url-status = dead
  | archive-url = https://web.archive.org/web/20101021021538/http://www.independent.co.uk/arts-entertainment/music/features/ice-queen-sophie-ellisbextor-pops-coolest-diva-446443.html
  | archive-date = 21 October 2010}}
</ref>

<ref name="Farber (2011)">
{{Cite news
  | last = Farber
  | first = Stephen
  | title = Killing a Hollywood Legacy
  | work = [[The Daily Beast]]
  | date = 13 October 2011
  | url = http://www.thedailybeast.com/articles/2011/10/13/texas-killing-fields-ami-canaan-mann-breaks-hollywood-crime-s-violent-legacy.html
  | access-date = 13 December 2011 }}
</ref>

<ref name="Fernandez (2011a)">
{{Cite news
  | last = Fernandez
  | first = Jay A.
  | title = Forthcoming Peter Bart Book Answers Long-Simmering Question About Julie Christie Sex Scene
  | work = [[The Hollywood Reporter]]
  | date = 22 March 2011
  | url = https://hollywoodreporter.com/risky-business/forthcoming-peter-bart-book-answers-170025
  | access-date = 23 March 2011 }}
</ref>

<ref name="Fernandez (2011b)">
{{Cite news
  | last = Fernandez
  | first = Jay A.
  | title = Donald Sutherland Unequivocally Denies 'Don't Look Now' Sex (Again)
  | work = [[The Hollywood Reporter]]
  | date = 24 March 2011
  | url = https://hollywoodreporter.com/risky-business/donald-sutherland-unequivocally-denies-dont-171235
  | access-date = 25 March 2011 }}
</ref>

<ref name="Film4">
{{cite web
  | title = Nicolas Roeg on ''Don't Look Now''
  | publisher = [[Film4]]
  | url = http://www.film4.com/features/article/nicolas-roeg-on-dont-look-now
  | access-date = 24 February 2011 
  | archive-url = https://web.archive.org/web/20120315071613/http://www.film4.com/features/article/nicolas-roeg-on-dont-look-now
  | archive-date = 15 March 2012 }}
</ref>

<ref name="French (2006)">
{{Cite news
  | last = French
  | first = Philip
  | author-link = Philip French
  | title = The sexual power and terror that produced a classic
  | work = [[The Observer]]
  | date = 9 April 2006
  | url = https://www.theguardian.com/film/2006/apr/09/features.review
  | access-date = 17 February 2011 }}
</ref>

<ref name="Freer (2019)">
{{Cite news
  | last = Freer
  | first = Ian
  | author-link = Ian Freer
  | title = 'We Had In Our Midst A Picasso': Why Don't Look Now looks so different to any other horror film
  | work = [[The Daily Telegraph]]
  | date = 28 June 2019
  | url = https://www.telegraph.co.uk/films/classic-british/horror-dont-look-now/
  | access-date = 4 July 2019 }}
</ref>

<ref name="French (2006-1-29)">
{{Cite news
  | last = French
  | first = Philip
  | author-link = Philip French
  | title = Frozen
  | work = [[The Observer]]
  | date = 29 January 2006
  | url = https://www.theguardian.com/film/2006/jan/29/philipfrench3
  | access-date = 13 December 2011 }}
</ref>

<ref name="French (2006-4-9)">
{{Cite news
  | last = French
  | first = Philip
  | author-link = Philip French
  | title = The Dark
  | work = [[The Guardian]]
  | date = 9 April 2006
  | url = https://www.theguardian.com/film/2006/apr/09/philipfrench4
  | access-date = 24 February 2011 }}
</ref>

<ref name="Gilbey (2011-3-10)">
{{Cite news
  | last = Gilbey
  | first = Ryan
  | title = Nicolas Roeg: 'I don't want to be ahead of my time'
  | work = [[The Guardian]]
  | date = 10 March 2011
  | url = https://www.theguardian.com/film/2011/mar/10/nicolas-roeg
  | access-date = 7 March 2012 }}
</ref>

<ref name="Gregory (2002)">
{{Cite video
  | people = Gregory, David
  | title = Don't Look Now: Looking Back
  | date = 2002  }} In:  {{harvnb|Don't Look Now (Special Edition) (DVD)}}
</ref>

<ref name="Gregory (2006)">
{{Cite video
  | people = Gregory, David
  | title = Death in Venice
  | date = 2006  }} In:  {{harvnb|Don't Look Now (Special Edition) (DVD)}}
</ref>

<ref name="The Guardian (2009)">
{{Cite news
  | title = Stills life: Anthony Dod Mantle
  | work = [[The Guardian]]
  | date = 30 June 2009
  | url = https://www.theguardian.com/film/gallery/2009/jun/29/stills-life-anthony-dod-mantle#/?picture=349528438
  | access-date = 23 June 2011 }}
</ref>

<ref name="Guthmann (1999)">
{{Cite news
  | last = Guthmann
  | first = Edward
  | title = Labyrinthine 'Look' Is Back – Roeg's '73 thriller reprised at Castro
  | work = [[San Francisco Chronicle]]
  | date = 1 January 1999
  | url = http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/1999/01/01/DD81890.DTL
  | access-date = 21 February 2011 }}
</ref>

<ref name="Hammond (2008)">
{{Cite news
  | last = Hammond
  | first = Wally
  | title = Martin McDonagh on 'In Bruges'
  | work = [[Time Out (company)|Time Out]]
  | location = London
  | year = 2008
  | url = https://timeout.com/film/features/show-feature/4632/
  | access-date = 24 February 2011 }}
</ref>

<ref name="Home Cinema Choice">
{{Cite news
  | last = van Beek
  | first = Anton
  | title = Don't Look Now – Blu-ray
  | work = [[Home Cinema Choice]]
  | url = http://www.homecinemachoice.com/news/article/blu-ray-review-don't-look-now/9855
  | access-date = 18 November 2014 }}
</ref>

<ref name="Horne (2008)">
{{Cite news
  | last = Horne
  | first = Philip
  | author-link = Philip Horne
  | title = See Naples and die. Literally
  | work = [[The Guardian]]
  | date = 26 August 2008
  | url = https://www.theguardian.com/film/2008/aug/26/inbruges.holidaysonfilm
  | access-date = 24 February 2011 }}
</ref>

<ref name="Itzkoff (2011)">
{{Cite news
  | last = Itzkoff
  | first = Dave
  | title = Don't Stop Screaming: The 'Glee' Guys Introduce Their 'American Horror Story'
  | work = [[NYTimes.com]]
  | date = 2 October 2011
  | url = http://artsbeat.blogs.nytimes.com/2011/10/02/dont-stop-the-screamin-the-glee-guys-introduce-their-american-horror-story/
  | access-date = 14 December 2011 }}
</ref>

<ref name="James (1990)">
{{Cite news
  | last = James
  | first = Caryn
  | title = Flatliners (1990) Review/Film; Young Doctors Explore the Boundary Between Life and Death
  | work = [[The New York Times]]
  | date = 10 August 1990
  | url = https://movies.nytimes.com/movie/review?res=9C0CE6D91F39F933A2575BC0A966958260
  | access-date = 24 February 2011 }}
</ref>

<ref name="Jones (2006)">
{{Cite video
  | people = Jones, Alan
  | title = Don't Look Now: An Introduction by Alan Jones
  | date = 2006  }} In:  {{harvnb|Don't Look Now (Special Edition) (DVD)}}
</ref>

<ref name="Jones (2009)">
{{Cite news
  | last = Jones
  | first = Alice
  | title = Film favourites: Politicians to pop stars reveal the movies that changed their life
  | work = [[The Independent]]
  | date = 7 May 2009
  | url = https://www.independent.co.uk/arts-entertainment/films/features/film-favourites-politicians-to-pop-stars-reveal-the-movies-that-changed-their-life-1680314.html
  | access-date = 24 February 2011 }}
</ref>

<ref name="Kael (1973)">
{{cite web
  | last = Kael
  | first = Pauline
  | author-link = Pauline Kael
  | title = Excerpt from ''Don't Look Now'' review
  | work =  Movie Film Review
  | publisher = Chris Tookey
  | year = 1973
  | url = http://www.movie-film-review.com/devfilm.asp?rtype=2&id=3764
  | access-date = 21 February 2011 }}
</ref>

<ref name="McLean (2001)">
{{Cite news
  | last = McLean
  | first = Gareth
  | author-link = Gareth McLean
  | title = Odd men out
  | work = [[The Guardian]]
  | date = 10 February 2001
  | url = https://www.theguardian.com/theguardian/2001/feb/10/weekend7.weekend1
  | access-date = 24 February 2011 }}
</ref>

<ref name="Morrison (2006)">
{{Cite journal
  | last = Morrison
  | first = Alan
  | title = At Home: Masterpiece #36 – Don't Look Now
  | journal = [[Empire (film magazine)|Empire]]
  |date=September 2006
  | issue = 207
  | pages = 160–161 }} {{UPC|9770957494184}}.
</ref>

<ref name="Northrup (2024)">
{{Cite news
  | last = Northrup
  | first = Ryan
  | title = Controversial 1973 Thriller with 93% Rotten Tomatoes Score Becomes Unlikely Streaming Hit
  | work = [[ScreenRant]]
  | date = 2 July 2024
  | url = https://screenrant.com/dont-look-now-movie-streaming-success/
  | access-date = 5 July 2024 }}
</ref>

<ref name="Observer (2001)">
{{Cite news
  | title = A vision of hell and high water
  | work = [[The Observer]]
  | date = 25 March 2001
  | url = https://www.theguardian.com/theobserver/2001/mar/25/features.review57?INTCMP=ILCNETTXT3487
  | access-date = 21 February 2011 }}
</ref>

<ref name="Optimum Releasing (2010)">
{{cite web
  | title = Don't Look Now (Special Edition)
  | publisher = [[StudioCanal UK]]
  | url = http://www.studiocanal.co.uk/Film/Details/e1b71ba1-c597-4c60-bca8-9f270110c42a
  | access-date = 8 April 2013 }}
</ref>

<ref name="Optimum Releasing (2011)">
{{Cite press release
  | title = Don't Look Now, Bluray
  | date = 4 July 2011
  | publisher = [[Optimum Releasing]]
  | url = http://press.optimumreleasing.net/press/?id=1466
  | access-date = 8 July 2011
  | archive-url = https://web.archive.org/web/20111014081818/http://press.optimumreleasing.net/press/?id=1466
  | archive-date = 14 October 2011
  | url-status = dead }}
</ref>

<ref name="O'Hagan (2006)">
{{Cite news
  | last = O'Hagan
  | first = Sean
  | title = The sexual power and terror that produced a classic
  | work = [[The Observer]]
  | date = 9 April 2006
  | url = https://www.theguardian.com/film/2006/apr/09/features.review
  | access-date = 13 February 2011 }}
</ref>

<ref name="O'Sullivan (2000)">
{{Cite news
  | last = O'Sullivan
  | first = Tom
  | title = Beg, borrow or steal
  | work = [[The Observer]]
  | date = 6 February 2000
  | url = https://www.theguardian.com/film/2000/feb/06/100filmmoments.culture4
  | access-date = 24 February 2011 }}
</ref>

<ref name="Radish (2011)">
{{cite web
  | last = Radish
  | first = Christina
  | title = Co-Creator Ryan Murphy Interview: American Horror Story
  | publisher = [[Collider (website)|Collider]]
  | date = 27 August 2011
  | url = https://collider.com/ryan-murphy-american-horror-story-interview/111424/
  | access-date = 14 December 2011 }}
</ref>

<ref name="Reelgood (2024)">
{{cite web
  | title = Streaming Charts – Top 10 Movies
  | publisher = Reelgood
  | location = United States
  | date = 20–26 June 2024
  | url = https://blog.reelgood.com/wp-content/uploads/2024/06/Top-10-RectangleJUN-20-MOVIES-JOURNALISTS-CHART.png
  | access-date = 7 July 2024 }}
</ref>

<ref name="Reeves (2011)">
{{cite web
  | last = Reeves
  | first = Tony
  | title = Don't Look Now film locations
  | publisher = [[The Worldwide Guide To Movie Locations]]
  | date = 11 August 2011
  | url = http://www.movie-locations.com/movies/d/dontlook.html
  | access-date = 26 November 2011 }}
</ref>

<ref name="Roeg (2008)">
{{Cite news
  | last = Roeg
  | first = Nicolas
  | author-link = Nicolas Roeg
  | title = Sex had to be on the menu
  | work = [[The Observer]]
  | date = 3 February 2008
  | url = https://www.theguardian.com/film/2008/feb/03/observerfilmmagazine.observerfilmmagazine18?INTCMP=ILCNETTXT3487
  | access-date = 21 February 2011 }}
</ref>

<ref name="sight and sound (2012)">
{{cite web 
  |title=The Greatest Films Poll: Don't Look Now 
  |year=2012 
  |publisher=[[British Film Institute]] 
  |url=http://explore.bfi.org.uk/sightandsoundpolls/2012/film/4ce2b6a91da80
  |archive-url=https://web.archive.org/web/20120905004842/http://explore.bfi.org.uk/sightandsoundpolls/2012/film/4ce2b6a91da80
  |url-status=dead
  |archive-date=5 September 2012
  |access-date=20 August 2012}}</ref>

<ref name="sight and sound (2022)">
{{cite web 
  |title=The Greatest Films of All Time: Don't Look Now 
  |year=2022 
  |publisher=[[British Film Institute]] 
  |url=https://www.bfi.org.uk/film/8c6c178c-b903-5e2b-b480-d43a6b21f5b4/dont-look-now
  |archive-url=https://web.archive.org/web/20221204181618/https://www.bfi.org.uk/film/8c6c178c-b903-5e2b-b480-d43a6b21f5b4/dont-look-now
  |url-status=live
  |archive-date=4 December 2022
  |access-date=4 December 2022}}</ref>

<ref name="Sinyard">
{{cite web
  | last = Sinyard
  | first = Neil
  | title = Roeg, Nicolas (1928–)
  | work = [[Screenonline]]
  | publisher = [[British Film Institute]]
  | url = http://www.screenonline.org.uk/people/id/456125/
  | access-date = 17 March 2011 }}
</ref>

<ref name="Sony Pictures (2006)">
{{cite web
  | title = "Casino Royale" production notes
  | publisher = [[Sony Pictures Entertainment]]
  | year = 2006
  | url = http://www.sonypictures.com/movies/casinoroyale/site/pdf/news/CASINOROYALE_PROD_NOTES.pdf
  | page = 18
  | archive-url = https://web.archive.org/web/20120417075036/http://www.sonypictures.com/movies/casinoroyale/site/pdf/news/CASINOROYALE_PROD_NOTES.pdf
  | archive-date = 17 April 2012 }}
</ref>

<ref name="Stanley (2019)">
{{cite web 
  |first=Anya |last=Stanley 
  |title=The Diffusion of Giallo in Nicolas Roeg's 'Don't Look Now' 
  |date=4 October 2019 |work=Vague Visages|url=https://vaguevisages.com/2019/10/04/the-diffusion-of-giallo-in-nicolas-roegs-dont-look-now/ 
  |access-date=20 February 2020 
  }}
</ref>

<ref name="Taylor (2023)">
{{Cite web
  | last = Taylor
  | first = Tom
  | title = Danny Robins picks the scariest film of all time and its harrowing pivotal scene
  | work = [[Far Out (website)|Far Out]]
  | date = 31 October 2023
  | url = https://faroutmagazine.co.uk/danny-robins-picks-the-scariest-film-of-all-time-and-its-harrowing-pivotal-scene/
  | access-date = 1 November 2023 }}
</ref>

<ref name="Thorpe (2011)">
{{Cite news
  | last = Thorpe
  | first = Vanessa
  | title = Cannes sensation Lynne Ramsay finds inspiration in her own family drama
  | work = [[The Observer]]
  | date = 14 May 2011
  | url = https://www.theguardian.com/film/2011/may/14/cannes-lynne-ramsay-family-drama
  | access-date = 15 May 2011 }}
</ref>

<ref name="TIFF (2018)">
{{Cite interview
  | title = The Films that Influenced Hereditary
  | subject = [[Ari Aster]]
  | date = 8 June 2018
  | publisher = [[Toronto International Film Festival|TIFF]] Originals
  | url = https://www.youtube.com/watch?v=SHVehwhUCCM }}
</ref>

<ref name="Time Out (2011)">
{{Cite news
  | title = 100 best British films: the full list
  | work = [[Time Out (company)|Time Out]]
  | location = London
  | date = 9 February 2011
  | url = https://timeout.com/london/feature/886/100-best-british-films-the-full-list
  | archive-url = https://web.archive.org/web/20110213045530/https://www.timeout.com/london/feature/886/100-best-british-films-the-full-list
  | archive-date = 13 February 2011 }}
</ref>

<ref name="Time Out (2012)">
{{Cite news
  | title = The 100 best horror films: the full list – 20–1
  | work = [[Time Out (company)|Time Out]]
  | location = London
  | date=April 2012
  | url = https://timeout.com/london/film/the-100-best-horror-films-the-full-list?pageNumber=5
  | archive-url = https://web.archive.org/web/20130813012012/https://timeout.com/london/film/the-100-best-horror-films-the-full-list?pageNumber=5
  | archive-date = 13 August 2013 }}
</ref>

<ref name="Variety (1973)">
{{Cite news
  | author = Variety staff
  | title = Don't Look Now
  | work = [[Variety (magazine)|Variety]]
  | date = 31 December 1973
  | url = https://variety.com/review/VE1117790513?refcatid=31
  | access-date = 21 February 2011 
  | archive-url = https://web.archive.org/web/20221005121735/https://variety.com/1972/film/reviews/don-t-look-now-1200423045/
  | archive-date = 5 October 2022 }}
</ref>

<ref name="Variety (2019)">
{{cite web 
 | last = Herman
 | first = James Patrick
 | title='Euphoria' Music Supervisor on Landing Air Supply, Arcade Fire and a Singing Zendaya 
 | work=[[Variety (magazine)|Variety]] 
 | date = 5 August 2019
 | url=https://variety.com/2019/music/news/euphoria-music-supervisor-jen-malone-1203292384/
 | access-date= 27 November 2019 }}
</ref>

<ref name="Walker (2007)">
{{Cite news
  | last = Walker
  | first = Lynne
  | author-link = Lynne Walker (critic)
  | title = Don't Look Now, Lyceum, Sheffield
  | work = [[The Independent]]
  | date = 2 March 2007
  | url = https://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/dont-look-now-lyceum-sheffield--none-onestar-twostar-fourstar-fivestar-438544.html
  | access-date = 28 March 2011
  | url-status = dead
  | archive-url = https://archive.today/20110328123423/http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/dont-look-now-lyceum-sheffield--none-onestar-twostar-fourstar-fivestar-438544.html
  | archive-date = 28 March 2011 }}
</ref>

<ref name="Walsh (2005)">
{{Cite news
  | last = Walsh
  | first = John
  | title = The League of Gentlemen: A league of their own
  | work = [[The Independent]]
  | date = 29 September 2005
  | url = https://www.independent.co.uk/arts-entertainment/theatre-dance/features/the-league-of-gentlemen-a-league-of-their-own-508875.html
  | access-date = 24 February 2011
  | url-status = dead
  | archive-url = https://archive.today/20110225062847/http://www.independent.co.uk/arts-entertainment/theatre-dance/features/the-league-of-gentlemen-a-league-of-their-own-508875.html
  | archive-date = 25 February 2011 }}
</ref>

<ref name="TheStar">
{{cite news
  | last = Taylor
  | first = Lesley Ciarula 
  | title = Best U.K. film ever? Don't Look Now
  | work = [[Toronto Star]]
  | date = 9 February 2011
  | url = https://www.thestar.com/entertainment/movies/2011/02/09/best_uk_film_ever_dont_look_now.html  
  | access-date = 30 October 2022 }}
</ref>

<ref name="Wood (2005)">
{{Cite news
  | last = Wood
  | first = Jason
  | title = Nicolas Roeg interview: His brilliant career
  | work = [[The Guardian]]
  | date = 3 June 2005
  | url = https://www.theguardian.com/film/2005/jun/03/hayfilmfestival2005.hayfestival
  | access-date = 24 February 2011 }}
</ref>
}}

== Bibliography ==
*{{Cite video
  | title        = Don't Look Now (Special Edition)
  | medium       = DVD
  | publisher    = [[Optimum Releasing]]
  | location     = United Kingdom
  | year         = 2006
  | ref          = {{harvid|Don't Look Now (Special Edition) (DVD)}} }} {{UPC|5060034577164}}.

*{{cite book 
  | last         = Barber 
  | first        = Sian
  | title        = The British Film Industry in the 1970s: Capital, Culture and Creativity
  | publisher    = [[Palgrave Macmillan]] 
  | date         = 2013
  | isbn         = 9781137305923
  }}

*{{Cite book
  | last         = Bart
  | first        = Peter
  | author-link   = Peter Bart
  | title        = Infamous Players: A Tale of Movies, the Mob, (and Sex)
  | publisher    = [[Weinstein Books]]
  | year         = 2011
  | isbn         = 978-1-60286-139-8
  }}

*{{Cite book
  | last         = Chapman
  | first        = James
  | title        = The Money Behind the Screen: A History of British Film Finance, 1945-1985
  | publisher    = [[Edinburgh University Press]]
  | year         = 2022
  | isbn         = 9781399500760
  }}

*{{Cite book
  | first        = Michael
  | last         = Deeley
  | title        = Blade Runners, Deer Hunters and Blowing the Bloody Doors Off: My Life in Cult Movies 
  | publisher    = [[Pegasus Books]]
  | year         = 2009
  }}

*{{cite book 
  | last         = Harper 
  | first        = Sue 
  | title        = British Film Culture in the 1970s: The Boundaries of Pleasure 
  | publisher    = [[Edinburgh University Press]] 
  | date         = 2011 
  | isbn         = 9780748654260
  }}

*{{Cite book
  | last         = Kania
  | first        = Andrew
  | title        = Memento
  | publisher    = [[Routledge]]
  | place        = Abingdon, Oxfordshire
  | year         = 2009
  | isbn         = 978-0-415-77474-1
  }}

*{{Cite book
  | last         = Mottram
  | first        = James
  | title        = The Making of Memento
  | publisher    = [[Faber and Faber]]
  | year         = 2011
  | isbn         = 9780571279517
  }}

*{{Cite book
  | last         = Sanderson
  | first        = Mark
  | title        =  Don't Look Now
  | series       = BFI Modern Classics
  | publisher    = [[British Film Institute]]
  | place        = London
  | year         = 1996
  | isbn         =  0-85170-572-3
  }}

*{{Cite book
  | last1        = Scott
  | first1       = Allan
  | author1-link = Allan Scott (Scottish screenwriter)
  | last2        = Bryant
  | first2       = Chris
  | author2-link = Chris Bryant (writer)
  | title        = Don't Look Now
  | publisher    = [[Sight & Sound]]
  | orig-year     = 1973 screenplay
  | year         = 1997
  }} {{ASIN|B000P5ZGC2|country=uk}}.

*{{Cite book 
   |last=Shipka 
   |first=Danny 
   |title=Perverse Titillation: The Exploitation Cinema of Italy, Spain and France, 1960–1980 
   |publisher=[[McFarland & Company]] 
   |year=2011 
   |isbn=978-0786448883 
   |edition=illustrated }}

*{{cite journal 
  |last=Smith
  |first=Justin  
  |year=2014 
  |title=Calculated Risks: Film Finances and British Independents in the 1970s 
  |journal=Historical Journal of Film, Radio and Television 
  |volume=34 
  |issue=1 
 |pages=85–102 
  |doi=10.1080/01439685.2014.879007 |hdl=2086/14543 |url=https://researchportal.port.ac.uk/portal/en/publications/calculated-risks(3d736699-9dd3-4fed-85f9-dd6d2e7f7977).html 
 |hdl-access=free
  |quote=Budget: $1,332,657  
  }}.

==External links==
* {{IMDb title}}
* {{Rotten Tomatoes}}
* [http://www.screenonline.org.uk/film/id/453477/ ''Don't Look Now''] at [[BFI Screenonline]]
* [https://www.bbc.co.uk/cultureshow/videos/2008/06/s5_e4_roeg/ Nicolas Roeg discusses ''Don't Look Now''] at [[The Culture Show]]
* [http://trailersfromhell.com/dont-look-now/ John Landis on "Don't Look Now"] at [[Trailers From Hell]]
* {{YouTube|R7s62-rmFic|Moviedrome introduction}}
* [https://www.criterion.com/current/posts/3460-don-t-look-now-seeing-red ''Don't Look Now: Seeing Red''] – an essay by David Thompson at [[The Criterion Collection]]

{{Nicolas Roeg}}
{{Authority control}}

[[Category:1973 films]]
[[Category:1973 horror films]]
[[Category:1973 independent films]]
[[Category:1970s English-language films]]
[[Category:1970s British films]]
[[Category:1970s Italian films]]
[[Category:1970s psychological horror films]]
[[Category:1970s psychological thriller films]]
[[Category:1970s serial killer films]]
[[Category:1970s supernatural horror films]]
[[Category:British horror thriller films]]
[[Category:British independent films]]
[[Category:British psychological horror films]]
[[Category:British psychological thriller films]]
[[Category:British serial killer films]]
[[Category:British supernatural horror films]]
[[Category:British supernatural thriller films]]
[[Category:English-language Italian films]]
[[Category:Italian horror thriller films]]
[[Category:Italian independent films]]
[[Category:Italian psychological thriller films]]
[[Category:Italian serial killer films]]
[[Category:Italian supernatural horror films]]
[[Category:Italian supernatural thriller films]]
[[Category:Films about child death]]
[[Category:Films about grief]]
[[Category:Films based on British short stories]]
[[Category:Films based on works by Daphne du Maurier]]
[[Category:Films directed by Nicolas Roeg]]
[[Category:Films scored by Pino Donaggio]]
[[Category:Films set in Hertfordshire]]
[[Category:Films set in Venice]]
[[Category:Films shot in Hertfordshire]]
[[Category:Films shot in Venice]]
[[Category:Gothic horror films]]
[[Category:Articles containing video clips]]
[[Category:English-language horror thriller films]]
[[Category:English-language independent films]]
[[Category:English-language crime films]]