Laura and John Baxter lost their little girl who drowned accidentally. Later, the couple stayed in Venice for business reasons. Visions and strange encounters with the couple rekindled the memory of their daughter disappeared.
Director glossy photo during the 60's David Lean, Francois Truffaut, John Lester or Schlensinger Richar (respectively in Doctor Zhivago, Fahrenheit 451 , Petulia or Far from the Madding Crowd three enabling it to rub Julie Christie before this film) the English Nicolas Roeg has filmographies most singular of all. After the experimental Performance and naturalist Walkabout, Do not Look Now is his third film and certainly the most cult following with The Man Who Fell to with David Bowie.
Adaptation of a new Daphne Du Maurier, this is probably a feature film the strangest of the 70's. The film opens with a terrible tragedy where the couple formed by Julie Christie and Donald Sutherland lose their daughter in a drowning accident. Once this first sequence, the tone is confusing with a montage playing mimicry between everyday actions of parents in the home and those of the girl up to his fateful destiny. From the outset this unprecedented expansion of the time which runs throughout the film is manifested by distilling small clues of the tragic incident to come and already placing a facet prescient but still facing the inevitable events to come. 
We find our relationship further weakened by the loss a few months later in Venice, where Sutherland is responsible for restoring a church. Roeg there exudes a strange and disturbing atmosphere where different meetings and events bring them back constantly to the memory of their daughter disappeared. This is manifested first by the visions of a blind medium (Hilary Mason) that the disorder by guessing their recent bereavement and the presence of their daughter always among them, but also dire portents coming summing Sutherland to leave Venice quickly. The unexpected appearance of a nocturnal silhouette child wearing the red cloak their daughter is not very reassuring. Roeg dare slow in his incredible story that dives into torpor and boredom volunteer who turns the movie into sensory experience nightmarish confines of fantasy, without obeying the expected sequences typical of the genre and leaving through the expectation. 
Rarely has filmed and Venice, the gray and hazy picture of Anthony B. Richmond (and Roeg himself in part) extending the feeling of disturbing dreams. It may well assume that Brian De Palma film knew what to do when his Obsession both atmospheres are similar including scenes in churches and their windows worrying how to insert pictures indexes issue afterwards (and also the presence of Pino Donaggio future resident composer De Palma who signs here her first film score) Florence has the same aura of unprecedented . 
Roeg intersects a tone with a very naturalistic stylization very experimental in its use of sound, it felt fitting sensory already Petulia (raised in January on the blog) but pushed into a corner here. The attention is constantly kept benefits greatly memorable Julie Christie and Donald Sutherland, fusion and loving couple in the event it passes through (including a sex scene that quite uninhibited will be remembered) and cons enough to use their image from that time (romantic icon Christie glamorous, wacky clown for Sutherland although Klute already been there two years earlier. 
A true cinematic experience thus requiring multiple views to capture all the nuances, such When it's terrible where the final title in the form of warning is explained in an amazing scene that heralds also a kind of flagship Italian cinema, the giallo. The front runners symbols of the horror to come back to mind and inspires a chilling is also revoyure immediate experience. Released on DVD Zone 2 French in early 2000 but the edition is now very difficult to find so onerous as to opt for an area of Paramount with English subtitles and a ver.
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