Don’t Look Now 1973 123movies

Watch: Don’t Look Now 1973 123movies, Full Movie Online – John and Laura Baxter are in Venice when they meet a pair of elderly sisters, one of whom claims to be psychic. She insists that she sees the spirit of the Baxters’ daughter, who recently drowned. Laura is intrigued, but John resists the idea. He, however, seems to have his own psychic flashes, seeing their daughter walk the streets in her red cloak, as well as Laura and the sisters on a funeral gondola..
Plot: Laura and John, grieved by a terrible loss, meet in Venice, where John is in charge of the restoration of a church, two mysterious sisters, one of whom gives them a message sent from the afterlife.
Smart Tags: #death_of_daughter #female_frontal_nudity #drowning #psychic #venice_italy #based_on_short_story #blindness #sex_scene #chase #grief #flashback #girl #slow_motion_scene #flash_forward #grieving_father #grieving_mother #briton_abroad #father_daughter_relationship #loss_of_child #haunted_by_the_past #church_restoration

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Ratings:

	7.2/10 Votes: 57,116
	94% | RottenTomatoes
	95/100 | MetaCritic
	N/A Votes: 810 Popularity: 16.205 | TMDB

Reviews:

Note-perfect direction, pacing, script and performances make this one of the eeriest, creepiest and unique horror films I have ever seen, and from Roeg’s very strong run of films. Perhaps the finest ‘reveal’ of all time, in fact.

In short, a ‘must-see’ film, and if you enjoy beautifully-shot psychological horror, it’s definitely worth a purchase in the finest quality print available, and re-watches…hopefully once every Halloween season, in fact.

I honestly had a great enthusiasm towards this film before I watched it and I really longed for a film that would mainly offer a sinister atmosphere for the most part. I had read so many great things about “Don’t Look Now” and the plot, the locations and the characters looked compelling enough to me to give this movie a chance and be prepared to enjoy an over and done masterpiece. Frankly, I am aware that most people who like this film, are probably going to think I’m terribly brainless because I was somehow disappointed by it, but I would much rather speaking my mind and giving my honest opinion.

The main reason why this film turned into a disappointment to me, was mostly the fact that there were quite a lot of scenes that worked as a sleeping pill to me. I think I have seen a decent share of horror films that offer big moments of silence and so-called clever symbolism and subtle details that somehow help to build a solid story. However, in “Don’t Look Now”, I felt a bit overwhelmed by the excessive amount of pointless sequences (and I’m pretty sure they ARE pointless) and images that in the end are reduced to nothing whatsoever. I felt like most of these puzzling and unsolved details, were Nicolas Roeg’s way to mystify the audience with discourteous methods and filling blanks to make the movie longer and by some means more “interesting” to look at. Nevertheless, opposite to what those chaotic sequences were meant to incite, I felt somehow underestimated and ripped off. This film could have offered the same story and lots of bright symbolism, without the requirement of bombing the audience with tedious states of affair. I’m very supportive of ambiguity in horror films, when help to create a sinister atmosphere, at least. As an example, I’d probably mention Lucio Fulci, whose films are mostly criticized by the great quantity of nonsensical scenes. However, in Mr. Fulci’s case, I think the puzzling aspect of his films, at least contribute in a great deal, to develop a terrifying atmosphere. So to make it short and clear, what I condemn the most about “Don’t Look Now”, is its offensive and underestimating ambiguity that leads to nothing at all and simply leaves the audience doubting about their own intelligence.

Too bad this film cheats the audience with so many pointless oscillations, because the story itself is not bad at all and the characters look darkly beautiful enough to make a frightening horror film, like the two old sisters, for example. The locations were probably one of the most appealing elements in “Don’t Look Now” and probably one of the main reasons why I agreed to watch the movie until it was finished instead of just leaving it incomplete. I am not one of those horror fans who expect a big “EUREKA!” moment during the last minutes of a film, I can guarantee that. However, I do not appreciate feeling mocked after a movie is finished. I’m sure this comment will be voted as NOT useful several times by people who support this film and think I’m just an airhead who didn’t get it, but that’s all right… I can live with that 😉

(My five stars, mostly are due to the locations and a couple of eerie moments that made the whole thing endurable somehow).

Chilling and mysterious
There are two types of horror films, really. There are popcorn horror films, good for a cheap in-the-moment thrill at best, and there are serious horror films, movies that linger in the mind and in the bones. I have just watched Nicolas Roeg’s ‘Don’t Look Now’ and my spine is frozen. It’s 4am, I’m alone, and I have a heightened awareness of sounds and sights I usually don’t notice.

Here is a movie that’s both resolved and unresolved, ultimately growing more ambiguous as it progresses and becomes more complex. After it is over and has become a complete(d) work to the eye of the viewer, the lasting impression is that of mystery. Too many films in this genre bark up the wrong tree, working to explain all of the events that unfold. By explaining nothing, by being almost abstract, questions and images will haunt the viewer indefinitely. It is what it is, and while this movie can be watched over and over, and the events that occur can be anticipated, they will forever remain an enigma. This is true cinema, purely visual and aural, without the helpful but ultimately self-defeating aid of a proxy observer; the viewer is the direct observer, and there’s no filter through which the events and images develop any sort of tidy rationality.

Donald Sutherland’s performance here is sober, adult, the grief of his character palpable. And in the face of this grief is a force that runs through the movie like a dark current, evoking the eternal and spookily ethereal and subterranean; less an eternity of the heavens than the eternity of a crypt. Venice is not merely the ideal location for this story, but the necessary location; it could not take place anywhere else. The unquestionable, and indeed imposing, Gothic majesty of the churches, whose interior height dwarfs their human occupants with the spiritual dread of the ancient, overlooks the canals of Venice like the wicked-faced stone gargoyles Sutherland finds himself physically embracing, while the canals that run through the city are literally the ghost of this couple’s personal tragedy. Living in Venice, in light of the details surrounding their loss, seems almost a perverse choice, perhaps a masochistic one; they could be punishing themselves for their daughter’s drowning by living in a flooded city.

It’s not that Sutherland’s character is a rational man in an irrational environment, but rather a rational man in an environment whose own secret code, which one may trust makes perfect sense to itself (like a tree in the forest that will only fall if no one is around to hear), is inaccessible and inexplicable to him, baring itself only in fragments in a way he chooses to ignore, just as you might ignore a spectral voice in the dead of night, dismissing it as a product of your imagination.

The movie’s notorious love scene is jarringly explicit, yet rather than erotic, it is profoundly sad, and takes on a deeper (even creepy) resonance after the film ends. That the scene is intercut with scenes of Sutherland and Julie Christie dressing prevents the two from ever being completely naked and united; this editing choice changes the dimensions of the love scene in a way that I’ve never seen attempted elsewhere. At other points, Roeg inserts moments and images that carry sinister implications, none of which are ever concretely substantiated and only leave the viewer with more questions.

The film drifts along at a wandering pace. The final twenty minutes are among the most atmospheric and suspenseful twenty minutes in any film, culminating in a montage that is absolutely chilling.

‘The Blair Witch Project,’ made over two decades later and probably influenced by this, has similar aspirations, but finally has only a fraction of the emotional gravity.

Death, grief, sex, confusion, murder…
Nicolas Roeg drama, patchily intense without being really absorbing, has married couple Donald Sutherland and Julie Christie grieving the death of their daughter; when a strange psychic tells them the deceased child is trying to contact them from beyond, Sutherland becomes obsessed with finding the truth. After a fascinating opening, this psychological thriller gets more and more murky, leading to a wet climax in Venice, Italy that leaves the viewer feeling high and dry. Roeg enjoys frenzied story loops, curious cuts and editing techniques, but he doesn’t have a trace of humor–good, dark or otherwise–and the heaviness of the film is more memorable than the story (which is anti-climactic) or the performances. **1/2 from ****

Other Information:

Original Language en
Runtime 1 hr 50 min (110 min)
Budget 1500000
Revenue 0
Status Released
Rated R
Genre Drama, Horror, Mystery
Director Nicolas Roeg
Writer Daphne Du Maurier, Allan Scott, Chris Bryant
Actors Julie Christie, Donald Sutherland, Hilary Mason
Country United Kingdom, Italy
Awards Won 1 BAFTA Award1 win & 9 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono, Dolby SR
Aspect Ratio 1.85 : 1
Camera Camera and Lenses by Panavision
Laboratory Technicolor, Hollywood (CA), USA (color)
Film Length 3,005 m (Sweden)
Negative Format 35 mm (Eastman 100T 5254)
Cinematographic Process Digital Intermediate (4K) (2019 remaster), Dolby Vision, Spherical
Printed Film Format 35 mm