[psycho d]

Don't Look Now (1973). The opening scene of Don't Look Now is more than enough to lure any unsuspecting movie sucker into this gripping and atmospheric little thriller. And once it gets going, even as confusing as it is, the wealth of filmatic gold that is presented is more than enough to hold the audience glued to its seat in hopeful angst that some sense will be made out of the discomfiting events that are unraveling.

Yeah, this isn't the most transparent movie ever, but its secretive and confusing ways only work to build up the mystery that is at its core. As it moves forward, and as more and more information is dropped onto our laps, nothing seems right and everyone, suspicious. Even reality as it is presented becomes questionable, but this is the film's puissance.

The acting was pretty good. Donald Sutherland was not quite as good as other critics like to suggest. At times he was marvelous, but suddenly he would have this cheesy smile draped over his face that suggested that super glue must have been involved. Julie Christie was fairly solid. The old ladies were creepy good fun and might just get my best performance vote. Others did their part as well, and though this flick might not have enjoyed the best acting ever, the essence of the acting almost in itself elevates it into a class of its own, leaving behind a litany of jealous and scornful wannabes.

The direction was spectacular. It is very reminiscent of a stylish giallo flick but with a well thought out story line. Its atmosphere of confusion was splendid, and only a brilliant director could have conjured up such a wonderful piece of work. And kudos for that lovemaking scene. It's been a long time since passion has lit up the silver screen sans an X rating. The photography was amazing. Some of the shots were textbook perfection in what they were eliciting out of the audience. What really worked its magic, though, was that fantastic editing. Scenes are split into twos for what seemed like an effort to confuse the audience at the expense of style, but nothing could be further from the truth as the ending fully revealed what these editing choices were actually trying to impart. In short, they were magnificent on all accounts. The score was perfect as well, whether driving the excitement or emoting the rekindled love of lovers, it hit its mark every time.

Don't Look Now is a film not just to be enjoyed at its initial viewing, but one whose awkward essence lingers long after the DVD is popped back into its case, fully cognizant that it will soon be pulled out again and again.
d