OCTOBER 19

OCTOBER 19

“Daphne du Maurier consented to have her most famous work co-opted by powerful men in the movie industry—Alfred Hitchcock’s The Birds and Nicholas Roeg’s Don’t Look Now being the prime examples—but both of these admittedly excellent films come from stories where du Maurier opted for a masculine lens through which to convey a self-reflective critique—distrust in one’s spouse and family as a sign of personal weakness, a theme only faintly discernible in Hitchcock’s and Roeg’s muscular adaptations.”

-fictionwritersreview.com