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

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In the view of Tom Milne of Monthly Film Bulletin, Roeg's combined work on Performance, Walkabout and Don't Look Now put him "right up at the top as film-maker". Jay Cocks for Time, wrote that "Don't Look Now is such a rich, complex and subtle experience that it demands more than one viewing", [60] while Variety commented that the film's visual flourishes made it "much more than merely a well-made psycho-horror thriller". The film's imagery and stylistic techniques have served as an inspiration to films such as Schindler's List directed by Steven Spielberg, [93] Memento by Christopher Nolan, [94] [95] [96] The Dark by John Fawcett, [97] Frozen by Juliet McKoen, [98] Submarine by Richard Ayoade, [99] and Snow White and the Huntsman by Rupert Sanders.

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.Fabrice Du Welz, whose film Vinyan has often been compared to Don't Look Now, has stated that it is a film he is "obsessed with", and one of his favourites, [82] while Lynne Ramsay cited it as an influence on We Need to Talk about Kevin, which incidentally is also produced by Roeg's son, Luc. In his view, Aldo "eliminat[es] a lot of the extreme gore and sex [associated with gialli], but still manages to create an aura of uneasiness with his Venetian locales just as Roeg did a year later". A new 4K restoration—supervised by cinematographer Anthony Richmond—was released by StudioCanal in the standard and Ultra HD Blu-ray formats in 2019, and given a limited theatrical release. in which an estranged couple (portrayed by George Lazenby and Anita Strindberg) investigate the drowning death of their daughter. The StudioCanal release was accompanied by several new extras: a featurette about the restoration process featuring cinematographer Anthony Richmond; "Pass the Warning: Taking A Look Back at Nic Roeg's Masterpiece", a documentary featuring Brad Bird, Andrew Haigh and Danny Boyle discussing Nicolas Roeg's body of work and visual style; "A Kaleidoscope of Meaning: Color in Don't Look Now", in which Anthony Richmond, David Cronenberg and Sarah Street discuss the use of colour in Don't Look Now.

Roeg's use of colour—especially red—can be traced back to earlier work: both Performance and Walkabout feature scenes where the whole screen turns red, similar in nature to the scene during Christine's drowning when the spilt water on the church slide causes a reaction that makes it—along with the whole screen—turn completely red. While many changes were due to the logistics of filming in Venice, some were for creative reasons, the most prominent being the inclusion of the love scene. Laura has already moved up the street and does not see the incident, and he does not share it with her.Here is an instance in which a supposed caretaker is the one in need of care, a theme that is repeated in this story a number of times. The reputation of Don't Look Now has grown since its release and it is now regarded as a key work in horror cinema. Despite the fact that his wife is obviously overjoyed by this news, John’s only thought is to move along to the next tour stop. British tabloid newspaper, the Daily Mail, observed at the time that "one of the frankest love scenes ever to be filmed is likely to plunge lovely Julie Christie into the biggest censorship row since Last Tango in Paris".