| Photos (see all 13 | slideshow) |
| Julie Christie | ... | Laura Baxter | |
| Donald Sutherland | ... | John Baxter | |
| Hilary Mason | ... | Heather | |
| Clelia Matania | ... | Wendy | |
| Massimo Serato | ... | Bishop Barbarrigo | |
| Renato Scarpa | ... | Inspector Longhi | |
| Giorgio Trestini | ... | Workman | |
| Leopoldo Trieste | ... | Hotel Manager | |
| David Tree | ... | Anthony Babbage | |
| Ann Rye | ... | Mandy Babbage | |
| Nicholas Salter | ... | Johnny Baxter | |
| Sharon Williams | ... | Christine Baxter | |
| Bruno Cattaneo | ... | Detective Sabbione | |
| Adelina Poerio | ... | The Dwarf |
Directed by | |||
| Nicolas Roeg | |||
Writing credits | ||
| Daphne Du Maurier | (story) | |
| Allan Scott | (screenplay) (as Alan Scott) and | |
| Chris Bryant | (screenplay) | |
Produced by | |||
| Peter Katz | .... | producer | |
| Frederick Muller | .... | associate producer (as Frederico Mueller) | |
| Anthony B. Unger | .... | executive producer | |
Original Music by | |||
| Pino Donaggio | (as Pino Donnagio) | ||
Cinematography by | |||
| Anthony B. Richmond | (director of photography) (as Anthony Richmond) | ||
| Nicolas Roeg | (uncredited) | ||
Film Editing by | |||
| Graeme Clifford | |||
Casting by | |||
| Miriam Brickman | |||
| Ugo Mariotti | |||
Art Direction by | |||
| Giovanni Soccol | |||
Makeup Department | |||
| Giancarlo Del Brocco | .... | makeup artist | |
| Maria Luisa Garbini | .... | hair stylist | |
| Barry Richardson | .... | hair stylist | |
Production Management | |||
| Franco Coduti | .... | unit manager | |
| Tim Hampton | .... | production supervisor (uncredited) | |
Second Unit Director or Assistant Director | |||
| Francesco Cinieri | .... | assistant director | |
Art Department | |||
| Francesco Chianese | .... | set dresser (as Francesco Chinanese) | |
Sound Department | |||
| Peter Davies | .... | sound recordist | |
| Rodney Holland | .... | sound editor | |
| Bob Jones | .... | dubbing mixer | |
| Peter Maxwell | .... | adr mixer (uncredited) | |
Stunts | |||
| Richard Grayden | .... | stunt coordinator | |
Camera and Electrical Department | |||
| Luciano Marrocchi | .... | gaffer | |
| Spartaco Pizzi | .... | key grip | |
| Simon Ransley | .... | assistant camera | |
| Luciano Tonti | .... | camera operator | |
Costume and Wardrobe Department | |||
| Marit Allen | .... | wardrobe: Miss Christie (as Marit Lieberson) | |
| Anna Maria Feo | .... | wardrobe mistress (as Annamaria Fea) | |
| Andrea Galer | .... | wardrobe: Miss Christie | |
Editorial Department | |||
| Peter Holt | .... | assistant editor | |
| Tony Lawson | .... | assistant editor | |
| Alfreda Benge | .... | assistant editor (uncredited) | |
Music Department | |||
| Giampiero Boneschi | .... | conductor | |
| Giampiero Boneschi | .... | music arranger | |
Other crew | |||
| Rita Agostini | .... | continuity | |
| Hubert Doyle | .... | publicist | |
| Terence O'Connor | .... | production accountant | |
| Steve Previn | .... | production executive | |
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| The Dead Zone | The Living and the Dead | Corpi presentano tracce di violenza carnale, I | Jacob's Ladder | The Sixth Sense |
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Don't Look Now was clearly ahead of its time. In 1973, psychological movies such as this were either rare, or basic. Don't Look Now attempts to go where a lot of movies had never been, which was a realm where many things never truly make sense and yet behind it all is a coherent purpose.
First of it is *not* a candidate for greatest horror film ever, though the Times would have you believe otherwise. What it *is* though is a highly confusing yet thought-provoking story which covers grief and dillusion in equal measure.
Donald Sutherland plays John Baxter, who's married to Laura, who lose a child in an accident and find their worlds turned upside-down as a result. However, thereafter the story is set in Venice where John's working on a job and Laura's accompanied him there, and where things start to get disturbing for the couple as events begin to focus on their dead daughter and paranormal themes emerge.
It *is* a strange tale, and ultimately what you get out of it is entirely up to you. It is probably from this film that the likes of David Lynch started to derive inspiration.
Overall, good, if intrinsically confusing.