Don't Look Now

A mother (Julie Christie) and father (Donald Sutherland), devastated by the loss of their daughter, travel to Venice for restorative distraction, only to find themselves immersed in the inexplicable, struggling to comprehend what simply cannot be.

Thus, as a blind woman's (Hilary Mason) murky clairvoyance confuses yet spiritually syndicates, John Baxter's rationality holds strong, even if he can't deny he's seen something odd, or that her predictions coldly generate truth.

Monopolistic reason can lead one to disregard his or her non-linear senses, the pursuit of pure logic having yet to clarify visions and premonitions, the sustained consistency of which always cause the sure and steady to question enthusiastically, or deny nevertheless, with vehement sincerity.

It's much better than a culture which values psychic claims above all else, for such an unqualifiable elevation begs a preponderance of chicanery.

Mumbo-jumbo as it were.

I believe there are rare people who possess such gifts notwithstanding who shouldn't be shamed and sidelined consequently.

How much of it is basic logic psychologically or historically applied remains to be determined, not by me malheureusement, but by those who make a living marketing such things.

Take prophecy.

If I remember correctly, France was in a state of disarray years after the revolution and Napoleon judged that for order to return, the disorganized people needed something to do.

So he went about conquering Europe.

I applied aspects of this scenario 10 years ago to the United States, thinking that if masses accustomed to wealth and comfort one day found themselves struggling to get by, a madman could unite them with gilded promises, which is what Trump is trying to do.

It's not prophecy.

It's speculation based on historical precedent.

Don't Look Now isn't the greatest film. It's shot in Venice but the cinematography focuses more on dark alleyways and run down buildings than what I imagine are architectural wonders. It keeps you anticipating the next action throughout without offering much compensation for your trouble, apart from some timeless interactions between Christie and Sutherland, and a vague sense of conspiracy which would have benefitted from value added information.

It's character driven but the material doesn't exactly situate them on the 417.

Did Venice have a highly xenophobic reputation at the time?