Ebert, Roger (5 June 1979). "The Brood". rogerebert.com. Chicago Sun-Times . Retrieved 20 February 2011. Radish, Christina (27 August 2011). "Co-Creator Ryan Murphy Interview: American Horror Story". Collider . Retrieved 14 December 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]

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. What made this book stand out is what happened, while Jordan was trying to save the killer's next victim. This isn't a spoiler (it maybe if you don't read blurbs)- Jordan suffers a blow to her head and is left with impaired vision. Remember she is in the middle of an ongoing investigation, the killer is still on the loose. Jordan is a fiercely independent person, but now she is forced to deal with tremendous changes to her her daily life, career and entire future. Roeg rarely allows us to catch a glimpse of this glittering tourist city. His version of Venice is both familiar and strange for the viewer; it is not the Venice we are expecting. It is a city in peril of disintegration, like John’s decaying churches, and its citizens are under threat from an unidentified murderer. In an addition to du Maurier’s dialogue, Roeg has the psychic Heather declare that Venice is a ‘city in aspic’ and that her sister hates it because ‘it frightens her, too many shadows’. For Heather herself, the canals and claustrophobic streets provide the perfect echo chamber that she can navigate by sound, and yet this is not reassuring for the viewer. In the final scenes of the film, the tension is raised considerably by the sound of Laura running, getting closer and closer, but her appearance in shot is continually delayed so that the anticipation becomes deeply unsettling and we start to wonder if we can no longer trust our ears as well as our eyes. In du Maurier’s short story, John concludes that ‘the experts are right... Venice is sinking. The whole city is slowly dying’ (p.26) and Roeg’s film perfectly reflects this slow sense of decay and death.I have a hard time putting my finger on what about this book didn’t hit with me. The pacing wasn’t what I was hoping for, as it was slower than I expected a thriller/romantic suspense/murder investigation to go. In some ways it reminded me of Melina Leigh’s romantic suspense books, but I didn’t connect to Jordan as well as I have to other man characters in books like this. A particular section in the middle of the book did pull me in a little bit more with a twist, but I figured out who the killer was early on, and I was a little disappointed that I had figured it out. John dismisses the sisters but this is a Venice where a serial killer is on the loose. John is also having visions of someone in a red cape. Roeg’s amplification of this scene is crucial to his interpretation of John and Laura’s relationship in the film and he deliberately wanted to show a sensual scene of married love not only to demonstrate the depth of their affection for one another but also to provide the possibility of hope for the future. Roeg decided to add the scene to the film because he realised that many of John and Laura’s interactions in the were plot were disagreements and he wanted to show that they were happy together. ‘Most love scenes in a movie amount to a seduction’, Roeg commented, ‘I wanted to make this as normal as possible... I wanted to get a reality to it of two human beings’ (DVD notes). Roeg takes the brief moment of married love in du Maurier’s short story and brings it to life for the viewer. Du Maurier expert Richard Kelly concludes that ‘du Maurier’s cool indifference to her characters, her clinical observation of their movements through the fate she has predestined for them, allows Roeg to flesh out this tale with a rich elegance and sensuality’ (Kelly, p.135). Gilbey, Ryan (10 March 2011). "Nicolas Roeg: 'I don't want to be ahead of my time' ". The Guardian . Retrieved 7 March 2012.

Harper, Sue (2011). British Film Culture in the 1970s: The Boundaries of Pleasure. Edinburgh University Press. ISBN 9780748654260. 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.The only fast thing I have on my body is my cells trying to get my eyes (let's pretend that makes sense) to move faster, so I could finish this in record time. That the serial killer was not revealed too soon (although I do read the end of books before I get to the end as I need to know what happens) a b Billson, Anne (22 October 2010). "Don't Look Now: No 3 best horror film of all time". The Guardian . Retrieved 21 February 2011.