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

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This was my first time experiencing a full cast narration, and I enjoyed the experience. I have listened to Hillary Huber before, but the other narrators were new to me. They all did a wonderful job bringing the story and the characters to life. I would definitely listen to them again Clinton, Jane (14 December 2008). "Day Beatty tried to ban sex scene..." Daily Express . Retrieved 21 February 2011. Don’t look now,’ John said to his wife, ‘but there are a couple of old girls two tables away who are trying to hypnotise me. (p.7)

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. That evening after returning from the hospital, John and Laura have passionate sex. Afterwards, they go out to dinner, and en route get lost and briefly become separated. John catches a glimpse of a small figure wearing a red coat similar to the one Christine was wearing when she died. a b c O'Hagan, Sean (9 April 2006). "The sexual power and terror that produced a classic". The Observer . Retrieved 13 February 2011.Fernandez, Jay A. (22 March 2011). "Forthcoming Peter Bart Book Answers Long-Simmering Question About Julie Christie Sex Scene". The Hollywood Reporter . Retrieved 23 March 2011. Ebert, Roger (13 October 2002). "Don't Look Now (1974)". rogerebert.com. Chicago Sun-Times . Retrieved 22 February 2011.

Christie commented that "people didn't do scenes like that in those days", and that she found the scenes difficult to film: "There were no available examples, no role models ... I just went blank and Nic [Roeg] shouted instructions." The scene caused problems with censors on both sides of the Atlantic. The American censor advised Nicolas Roeg explicitly, saying, "We cannot see humping. We cannot see the rise and fall between thighs." The scene's much celebrated fragmented style, in which scenes of the couple having sexual intercourse are intercut with scenes of the couple post-coitally getting dressed to go out to dinner, partly came about through Roeg's attempt to accommodate the concerns of the censors: "They scrutinised it and found absolutely nothing they could object to. If someone goes up, you cut and the next time you see them they're in a different position, you obviously fill in the gaps for yourself. But, technically speaking, there was no 'humping' in that scene." In the end, Roeg only cut nine frames from the sequence, and the film was awarded an R rating in the United States. In Britain, the British Board of Film Censors judged the uncut version to be "tasteful and integral to the plot", and a scene in which Donald Sutherland's character can be clearly seen performing oral sex on Christie's character was permitted; it was given an X rating—an adults only certificate. [4] [38]The only disagreement over the musical direction of the film was for the score accompanying the love scene. Donaggio composed a grand orchestral piece, but Roeg thought the effect was excessive, and wanted it toned down. In the end the scene just used a combination of the piano, the flute, an acoustic guitar and an acoustic bass guitar. 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. Donaggio conceded that the more low-key theme worked better in the sequence and ditched the high strings orchestral piece, reworking it for the funeral scene at the end of the film. [36] Reeves, Tony (11 August 2011). "Don't Look Now film locations". The Worldwide Guide To Movie Locations . Retrieved 26 November 2011. Casino Royale" production notes" (PDF). Sony Pictures Entertainment. 2006. p.18. Archived from the original (PDF) on 17 April 2012. In the dark, among the bushes and trees, two people overhear things about themselves that force them to re-evaluate their lives. The next day, several of the party experience mishaps and personal humiliations, and by the end of the excursion all apart from Robin have met the fate that they most dread. In dealing with the disasters the whole group learn a great deal about themselves and their loved ones, and they return happier people.

Roeg described the letter as ‘wonderful’ and praised du Maurier’s generous response. He said that as a writer she wasn’t possessive over her ideas– ‘the ideas are all around us; life, stories, plots are all here’– and where her story had been inspired by the couple in Torcello, his version of that same story had been inspired by her work. In this way, just as past, present, and future merge and exist simultaneously in du Maurier’s story, both adaptations can be seen as creative versions of that initial idea inspired by the observation of a real couple. Warning: This book discusses some sensitive topics that may be triggering for some readers including death of a loved one, murder, physical violence, sexual violence, verbal abuse, drug addictions, drug abuse, traumatic events, and vivid depictions of crime scenes. Walker, Lynne (2 March 2007). "Don't Look Now, Lyceum, Sheffield". The Independent. Archived from the original on 28 March 2011 . Retrieved 28 March 2011. BAFTA Awards Search – Don't Look Now". British Academy of Film and Television Arts . Retrieved 8 April 2013. a b c Kael, Pauline (1973). "Excerpt from Don't Look Now review". Movie Film Review. Chris Tookey . Retrieved 21 February 2011.My first book by Mary Burton and I can see why this prolific author is very popular. This standalone thriller/police procedural had a strong female lead, a logical storyline with a few twists and red herrings to keep the reader guessing and a good pace- no wonder I read it in no time at all. One of du Maurier’s most brilliant and disturbing works, Don’t Look Now tells the story of married couple John and Laura who, while on holiday in Venice grieving the loss of their child, meet two sisters, one of whom is a psychic and claims to have seen their dead daughter sitting beside them. The sisters subsequently warn the couple that they will be in danger if they remain in Venice and, much to John’s annoyance, they claim that he too has second sight. The deeply rational and logical John cannot accept this possibility and when Laura is suddenly recalled to England because their other child is unwell and he sees her, apparently still in Venice, on a ferry with the sisters, he panics and goes to the police. This sight turns out to be a prophetic vision of the future. John’s failure to heed the sisters’ warning leads to his untimely death at the hands of a dwarf murderess, whose seemingly innocent figure John mistook for a child in danger. The story has all the ingredients of a classic du Maurier tale: the ideal combination of place and narrative, with the Gothic city that harbours a dangerous killer; a flawed male character who cannot see what is going on around him; and a complex exploration of the relationship between past, present, and future. Intensely visual, perfectly plotted for maximum impact, and an engaging puzzle that draws the reader in, du Maurier’s short stories such as Don’t Look Now are a gift for film-makers and audiences. And he saw the vaporetto with Laura and the two sisters steaming down the Grand Canal, not today, not tomorrow, but the day after that and he knew why they were together and for what sad purpose they had come. The creature was gibbering in its corner. The hammering and the voices and the barking dog grew fainter, and 'Oh God,' he thought, 'What a bloody silly way to die…'" Ebert, Roger (5 June 1979). "The Brood". rogerebert.com. Chicago Sun-Times . Retrieved 20 February 2011. Daphne’s assessment that the film adds ‘more depth to unconscious thoughts that might have been my own’ is praise indeed and a close comparison of the film and short story bears out the manifold ways in which Roeg has responded sensitively and imaginatively to du Maurier’s work. Daphne joked to Roeg, ‘please one of these days, find another of my short stories to screen!’ There could not be a more positive endorsement of Roeg’s achievement in bringing du Maurier’s brilliant short story to life for the big screen.