Don't Look Now and Other Stories (Penguin Modern Classics)

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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", [25] 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. After learning of the murderer from the English tourists at the police station, John revises his previous description of the sisters as “freaks” to “diabolical” criminals who “might even be the murderers for whom the police sought”—but he immediately recognizes the dent in his logical armor by thinking, “This is the way people go off their heads.

Roeg was enthusiastic about the result but the London-based producers were resistant to hiring someone who had no background in films.

Don’t Look Now” draws on this convention of the logical protagonist in its depiction of John who, like Walton, Utterson, and Seward, finds his unshakable faith in logic and reason tested, and eventually broken, by the story’s end. This upsets John because he is convinced that something suspicious is brewing with these sisters, and that they must want something from him and Laura. Filming began in England in December 1972, breaking off for Christmas, and resuming in January 1973 for seven more weeks in Italy. A policeman listens to John’s story, including his suspicions about the twin sisters’ possible involvement.

In the end, Roeg only cut nine frames from the sequence, and the film was awarded an R rating in the United States. In 1931, du Maurier published, to critical acclaim, her first novel, The Loving Spirit, a romantic family tale.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. However, as Wayne Templeton notes in Dictionary of Literary Biography: British Novelists Between the Wars, a “reassessment of the canon has led in recent years to the ‘discovery’ of several previously neglected figures in British literature,” one of whom is du Maurier. In both the literal and the metaphorical senses, Laura is “on her way,” leaving John and flying to England.