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''Don't Look Now'' is a 1973 independent British-Italian film directed by Nicolas Roeg. It is a thriller adapted from the short story by Daphne du Maurier. Julie Christie and Donald Sutherland star as a married couple who travel to Venice following the recent accidental death of their daughter, after the husband accepts a commission to restore a church. They encounter two sisters, one of whom claims to be clairvoyant and informs them that their daughter is trying to contact them and warn them of danger. The husband at first dismisses their claims, but starts to experience mysterious sightings himself. While ''Don't Look Now'' observes many conventions of the thriller genre, its primary focus is on the psychology of grief, and the effect the death of a child can have on a relationship. Its emotionally convincing depiction of grief is often singled out as a trait not usually present in films featuring supernatural plot elements. As well as the unusual handling of its subject matter, ''Don't Look Now'' is renowned for its innovative editing style, and its use of recurring motifs and themes. The film often employs flashbacks and flashforwards in keeping with the depiction of precognition, but some scenes are intercut or merged to alter the viewer's perception of what is really happening. It also adopts an impressionist approach to its imagery, often presaging events with familiar objects, patterns and colours using associative editing techniques. Originally causing controversy on its initial release due to an explicit and—for the time—very graphic sex scene between Christie and Sutherland, its reputation has grown considerably in the years since, and it is now acknowledged as a modern classic and an influential work in horror and British film. == Plot == Some time after the drowning of their young daughter, Christine (Sharon Williams), in a tragic accident at their English country home, John Baxter (Donald Sutherland) and his grief-stricken wife, Laura (Julie Christie), take a trip to Venice after John accepts a commission from a bishop (Massimo Serato) to restore an ancient church. Laura encounters two elderly sisters, Heather (Hilary Mason) and Wendy (Clelia Matania), at a restaurant where she and John are dining; Heather claims to be psychic and—despite being blind—informs Laura she is able to 'see' the Baxters' deceased daughter. Shaken, Laura returns to her table, where she faints. Laura is taken to the hospital, where she later tells John what Heather told her. John is sceptical but pleasantly surprised by the positive change in Laura's demeanour. Later in the evening after returning from the hospital, John and Laura engage in passionate sexual intercourse. Afterwards, they go out to dinner where they get lost and briefly become separated. John catches a glimpse of what appears to be a small child (Adelina Poerio) wearing a red coat similar to the one Christine was wearing when she died. The next day, Laura meets with Heather and Wendy, who hold a séance to try to contact Christine. When she returns to the hotel Laura informs John that Christine has said he is in danger and must leave Venice. John loses his temper with Laura, but that night they receive a telephone call informing them that their son (Nicholas Salter) has been injured in an accident at his boarding school. Laura departs for England, while John stays on to complete the restoration. Under the assumption that Laura is in England, John is shocked when later that day he spots her on a vaporetto that is part of a funeral cortege, accompanied by the two sisters. Concerned about his wife's mental state and with reports of a serial killer at large in Venice, he reports Laura's disappearance to the police. The inspector (Renato Scarpa) investigating the killings is suspicious of John and has him followed. After conducting a futile search for Laura and the sisters—in which he again sees the childlike figure in the red coat—John contacts his son's school to enquire about his condition, only to discover Laura is already there. After speaking to her to confirm she really is in England, a bewildered John returns to the police station to inform the police he has found his wife. In the meantime the police have brought Heather in for questioning, so an apologetic John offers to escort her back to the hotel. Shortly after returning, Heather slips into a trance so John makes his excuses and quickly leaves. Upon coming out of it she beseeches her sister to go after John, sensing that something terrible is about to happen, but Wendy is unable to catch up with him. Meanwhile, John catches another glimpse of the mysterious figure in red and this time pursues it. He corners the elusive figure in a deserted palazzo and approaches it, believing it to be a child. Instead, it is revealed to be a hideous female dwarf, and while John is frozen in terror the dwarf pulls out a meat cleaver and cuts his throat. As the life drains from him, John realises too late that the strange sightings he has been experiencing were premonitions of his own murder and funeral. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Don't Look Now」の詳細全文を読む スポンサード リンク
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