Don’t Look NowDr Steve GaunsonRMIT University

Adapting a shortA short doesn’t have the scope to do everything a novel can

It has to imply a lot without explaining

This is why horror short stories often work better than fleshed-out novelsSome of the best horror films are based on short storiesThe film shows the backstory

55 pagesThis short is around 55 pages.

Half the length of a novella

This seems a pretty good length for feature adaptation.

It can tell its story in some detail — and focus on the characters

Think of John pondering how he will tell the police the truth about his wife’s whereabouts

The short story feels like a character story — more than genre piece

A shorter length wouldn’t have had this luxury

Encourages the reader to become a viewer — and think about it as a cinematic work

Imitation — Updates certain aspects of the source while refusing to change others.

Daphne du Maurier and Nicholas RoegFemale author – male director

Is there a issue with this? Would it have been more successful if a female directed this?

Criticism for the film: Roeg ‘feminised’ the story by making it a love story between husband and wife

The film gives Laura a POVThe love sceneAlways a distance: John (American), Laura (British)

Roeg’s film has a kinder settingDo you agree? Is this a problem?Does it shift from its chiller element?The film is a family melodrama

AdjustmentAdjusts, changes, and alters the source

without losing the sentiment.Water becomes a stronger theme in the film

Christine drowns — doesn’t die from meningitisWatching this give us more empathy/sympathy with Laura and John

Water means death – body pulled from the water in Venice

Water is connected to tragedy.

It seems odd that they would choose Venice — which is why Roeg makes it part of John’s job (to restore an old church)

John has a real purpose to be in VeniceNot tourists

RevisionRevisions seek to alter the meaning

and spirit of the sourceRed coat doesn’t have the same meaning in the story

Christine wears a prominent red coatConnects to the red coat seen in Venice.John isn’t chasing a little girl — but ghost. He’s trying to save his daughter

Red is also associated with the city of VeniceRed becomes the colour of death

CelebrationHeavy reluctance to change the exact

words or sentiment of the source.Tale about images, framing and cutting is told by images, framing and cutting.

The story ‘sees’ images – the film ‘shows’ images.

In the film people are shown watching, but what they watch is frequently unsettling (story doesn’t have the scope for this)The film is centrally interested in its sounds and images between the cutting of past, present, and future. The story is far more linear.

ColonisationThe adapter puts their own unique

style on the source.Great similarity to Roeg’s other films Walkabout and The Man Who Fell To Earth

Think of cutting and sounds

Rapid shots infuse Venice with John’s fear, imprionsing the viewer behind bars and screensFrequently the camera is placed literally within Venice’s underworld positioned at obscure, low angles (as if he is being watched from the below)Venice becomes more than a backdrop and location

Venice is out of season – dead of winter

It’s not Venice the prepackaged work of artThink how differently this Venice is to The Tourist

Final ThoughtDaphne du Maurier really liked the film — because Roeg never went from the sentiment of the storyThe film is about fleshing out the motifs and themes from the storyA story about not being in charge of one’s fateIt’s equally a celebration and adjustment – for it is both literary and cinematic

It’s adjustments are to bring attention to how simply and poignant the short story actually is.