![]() ![]() ![]() The quick-cut editing blurs past, present, and future, with flashes of unsettling imagery: a bicycle running over a pane of glass, a blob of red paint enveloping a photograph of a church. John also appears to have psychic abilities, which both compel and deter him.īut the heart of the film is the couple’s shared grief, and the tricks of the mind that it plays on them. They meet a clairvoyant blind woman (the supremely creepy Hilary Mason), who claims to bear messages from their daughter and delivers shrieking warnings of imminent danger. The action then moves to Venice, where John has been hired to restore an old church. It tells the story of a married couple, John (Donald Sutherland) and Laura (the surpassingly gorgeous Julie Christie), whose little girl drowns in a lake. (Anyone who watched “The Witches” (1990) as a child remembers not a shadowy cauldron but a harshly lit hotel conference room in which Anjelica Huston peels off her face to reveal her hideous witch self.) Roeg started as a cinematographer, with credits including “Fahrenheit 451” and “Far from the Madding Crowd,” and began directing films in the seventies, including the David Bowie vehicle “The Man Who Fell to Earth.” In 1973, he came out with the psychological thriller “Don’t Look Now,” based on a Daphne du Maurier tale. The British director Nicolas Roeg, who died last week, at ninety, had a knack for filming nightmarish dread in broad daylight. ![]()
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