---
product_id: 5493346
title: "Don't Look Now [DVD]"
brand: "julie christiedonald sutherlandnicolas roeg"
price: "R788"
currency: ZAR
in_stock: true
reviews_count: 8
url: https://www.desertcart.co.za/products/5493346-dont-look-now-dvd
store_origin: ZA
region: South Africa
---

# Don't Look Now [DVD]

**Brand:** julie christiedonald sutherlandnicolas roeg
**Price:** R788
**Availability:** ✅ In Stock

## Quick Answers

- **What is this?** Don't Look Now [DVD] by julie christiedonald sutherlandnicolas roeg
- **How much does it cost?** R788 with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.co.za](https://www.desertcart.co.za/products/5493346-dont-look-now-dvd)

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## Description

Don't Look Now [DVD]

## Images

![Don't Look Now [DVD] - Image 1](https://m.media-amazon.com/images/I/81CnA5inQUL.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ 5.0 out of 5 stars







  
  
    Older but excellent
  

*by E***H on Reviewed in the United States on April 26, 2024*

Beautiful-sound, music, cinematically, and absolutely terrifying.Subtle, bears close attention. Not like any other sinister film. Superb director too.

### ⭐⭐⭐⭐⭐ 5.0 out of 5 stars







  
  
    Pure psychological fear
  

*by W***N on Reviewed in the United States on December 29, 2002*

This film had a shattering impact on me when I first saw it in the theater in its first run in 1974. I was in a jittery state for several weeks, and had many dreams and nightmares influenced by it. "The Exorcist" had come out at the same time, a well-made but conventional horror film. "Don't Look Now" is far from conventional and much more deeply frightening if one is receptive to its elusive mood. It has an avant garde editing and directorial style by the sophisticated English cinematographer-turned-director, Nicholas Roeg, whose other films include the experimental "Performance" with Mick Jagger, the brilliantly photographed "Walkabout" set in the Australian outback, and the surreal "Man Who Fell to Earth" starring David Bowie.Roeg's intimate, first-hand knowledge of cinematography influences the manner in which the supernatural is suggested, with simple yet unsettling shots of ordinary but sinister objects, vague streetcorners, deep shadows, or fleeting figures disappearing behind buildings. Despite the main setting in picturesque Venice, the realism of the style ties these eerie images to everyday experience.The entire film in a sense is an attempt at re-defining what the supernatural really is. Not slimy zombies or ghosts in white shrouds but strange coincidences in otherwise ordinary images - tiles of a mosaic being shattered by a footstep, or a pane of glass being broken by a bicycle wheel. These little unexplained connections between events accumulate over the course of the film, and then are all brought together in the powerful and terrifying finale.Pino Donnagio's music score adds immeasureably to the atmosphere, and later caused Brian de Palm to use the composer for the scores of "Carrie," "Blowout" and "Dressed to Kill." This morose but romantic Italian is one of the few film composers able to supply a music score as vivid as the great Bernard Herrmann.Donald Sutherland brings his method realism to a fine pitch in the role of the psychic yet skeptical modern man - a disbelieving soul who is nevertheless restoring an ancient church. And the delicate, fragile beauty and understated yet deeply felt acting of Julie Christie is perfect for the role of his loving but grief-stricken wife.Quite simply there has never been another film like this one. Though Shyamalan's "Sixth Sense" is a noble attempt at creating a similar intense and weird atmosphere, there will probably never be another. It is truly a unique creation and certainly one of the finest films about the supernatural ever made.The DVD has few extras, but is an excellent transfer, extremely crisp and clear. Probably one doesn't need extras with this film, because it is a deliberate and inexplicable cinematic enigma. In a day when dumbed-down films beat one over the head with their often idiotic plots, it is immensely refreshing and inspiring to see such a work of subtle cinematic art as "Don't Look Now."

### ⭐⭐⭐⭐ 4.0 out of 5 stars







  
  
    Look Now
  

*by M***N on Reviewed in the United States on September 15, 2021*

While this may have actually been your dad's horror movie, having been shot in 1972, this is also manifestly NOT your dad's horror movie -- not in any way, shape or form. The pace is measured, even slow.  Deaths are few and far between. Gore makes only a cameo appearance. The first half of the film spends most of its energy letting us get to know the characters and the problem that haunts their lives. The bad guy, so to speak, is really not important to the film. And on top of all this, the movie's sense of time and in some senses, even reality, is fractured by its editing. Yes, this is one peculiar horror movie, but it sticks with you, and makes, by itself, a case for the potentialities of horror as art rather than mere voyeurism.DON'T LOOK NOW opens in rural England. Laura and John Baxter (Julie Christie and Donald Sutherland) are a happy, successful married couple with two beautiful children. A freak accident claims the life of their little girl, and to distract themselves from their grief, John accepts a commission to renovate a church in Venice. Soon after arriving, they encounter a mysterious pair of sisters, one of whom is blind but claims to have the second sight. This woman says she can communicate with the couple's dead child. Laura is ecstatic at this news, but John has a different reaction entirely, seeing this as a scam which is preying on his wife's grief and also preventing her from coming to terms with their daughter's death. As if in retaliation, the blind sister warns John that his life is in danger. Meanwhile, in the background, a series of murders are taking place in the city, and John begins to catch glimpses of a small figure in a red mackinaw, which is just what his daughter was wearing when she drowned. All of these seemingly unconnected strands of weirdness and coincidence begin to weave together as the film moves, at the beat of its own drum, to a conclusion which, if it hasn't been spoiled for you in advance, will probably jar you nearly as much as the end of "The Wicker Man."Aside from what I already mentioned, DON'T LOOK NOW employs a number of unusual techniques to achieve its haunting effect. One is its use of Venice both as backdrop, adversary and character. Instead of being shot the way that, for example, Ron Howard shot Rome in "Angels & Demons," with lush use of light and every advantage made of all the archiectural landmarks, director Nicholas Roeg sets the movie in the bleak, dreary, drizzly winter and emphasizes the decay of the city, as well as its dirtiness: the church John works in is a crumbling wreck, and serves as a kind of metaphor for the town. This is not the tourist's venice, but the gritty underbelly -- so gritty the city's tourism board went nuts over the way the film was shot. Another is, quite frankly, the emphasis placed on character building by the script. Aside from Stephen King's "Pet Sematary" (the book, not the movie), I can't think of many horror stories which invest this much effort and especially time in the protagonists. Roeg wants you to know them, and you do: both actors give excellent performances, especially Sutherland, who has been known to dog it and then some when he's miscast, bored or just out for a paycheck. John and Laura feel like real people. Renato Scarpa and Massimo Serato are also very good as a sinister detective and a wordly bishop, respectively. The two sisters Hilary Mason and Celia Matiana, are suitably enigmatic in their roles as the possibly good, possibly evil psychics who hold the desperate Laura in a kind of willing thrall. There is also a very heavy use of foreshadowing, albeit in surrealistic, deliberately confusing ways, and much emphasis on the question of whether being able to see the future means you can actually change it. But the main thrust of DON'T LOOK NOW is very unusual for a horror film: it is in a sense an analysis of grief. Horror movies tend to focus on the build up to and the act of killing; they seldom linger on the effect killing has on survivors. This movie is really nothing else: the murder mystery, the identity of the red-clad figure, are deeply in the background until the very end. The focus is how the couple is coping with the death of their little girl, and then, how they cope, in different ways, with the intrusion of the sisters into that grief: hell, even the possible supernatural elements of the movie, which are steady but not very obtrusive, are really just mechanisms by which our protagonist's sanity and commitment to each other are tested.DON'T LOOK NOW will not appeal to everyone, not by any means. It is a slow-moving film, there is a sex scene which is extremely explicit and may seem gratutious to people who don't consciously understand the connection between death and sex, and most tropes found in horror films aren't to be encountered here. To be blunt, it can be considered boring, which is a curious thing considering its oft-quoted standing as one of the greatest horror movies of all time. A great deal of its impact lies in its last few minutes, when all the buildup pays off, but getting there requires more patience than many horror afficianados possess. My own reaction was muted curiousity while I watched it, but I found afterwards that the characters and the imagery were extremely haunting. There is just something about DON'T LOOK NOW that will stick with you and get you thinking about its themes of grief, love, and temporal paradox. It's a thinking-person's horror film, and those are so rare, and so rarely done well, that it's probably worth watching on that basis alone.

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*Product available on Desertcart South Africa*
*Store origin: ZA*
*Last updated: 2026-04-24*