The Lost Short Stories of Daphne du Maurier

'The dark side of this most respectable suspense writer.'

Daphne du Maurier, The Doll: The Lost Short Stories

Anna Mundow reviews Daphne du Maurier's The Doll: The Lost Short Stories: 'Daphne du Maurier's best-known novel, Rebecca, is a romantic swoon of a book that opens with the famous incantation, "Last night I dreamt I went to Manderley again." It is also a sadomasochistic nightmare and a daring portrait of female humiliation. For du Maurier, like most thriller writers, was a literary subversive, and her fiction, despite its twin-set-and-pearls decorum, presents an unsettling vision of sex, cruelty, and class. Now The Doll: The Lost Short Stories provides a glimpse of that vision in the making.' [Read More]

On Daphne du Maurier's The Doll: Short Stories

du Maurier's posthumous collection reviewed in The Observer

Daphne du Maurier. Photograph: Edward Gooch/Hulton

Natasha Tripney reviews Daphne du Maurier's The Doll: Short Stories in The Observer: 'While they often do feel like the work of a young writer, they are occasionally quite startling in their insight and their ability to unsettle.' [Read More]

Also at A Piece of Monologue:

• Daphne du Maurier: The Doll: Short Stories
• Nicolas Roeg on Don't Look Now

Nicolas Roeg on Don't Look Now

On the production, the visual style, and the film's legacy

Nicolas Roeg's Don't Look Now (1973)

Director Nicolas Roeg shares his thoughts and reflections on Don't Look Now, one of the most visually distinctive horror films of the 1970s. Colm McAuliffe also remarks on the film's enduring reputation, and Roeg's sometimes controversial critical reception:

Don’t Look Now was originally a Daphne de Maurier short story, whom at the time was best known for the works Hitchcock adapted for the screen – Rebecca, The Birds and, to a lesser extent, Jamaica Inn. The influence of Hitchcock on Roeg is highlighted by Don’t Look Now’s near-duplication of a classic scene from The 39 Steps – Hitchcock cuts from a woman’s scream to that of a train whistle, while Roeg cuts from Laura Baxter’s shriek in England to that of a jackhammer in Venice.

The casting of Julie Christie and Donald Sutherland as Laura and John Baxter was, according to Roeg, again down to chance: “They ended up being first choice – I wanted Julie and liked the idea of a Canadian in the main male role but we were told we’d never get them. Julia was on McGovern’s campaign (her then-boyfriend Warren Beatty was an advisor on Senator George McGovern’s unsuccessful presidential campaign of 1972) and Donald had just started a movie in Mexico. But the McGovern campaign fell through as did the Mexican film – they were free. Destiny".

Roeg attributes a similar sense of serendipity to a large portion of the film production: "The script has a life separate from itself and chance can never be excluded. The church we eventually used was Nicolò dei Mendicoli (St. Nicholas of the Beggars) and things fell into place after this location was secured – they were actually restoring the church itself at the time. You can see a poster outside declaring ‘Venice in Peril Fund’. [Also]…the incident where the scaffolding collapses under Sutherland’s character – the scaffolding was already there." The Venice portrayed in the film is certainly not the city one would find in a travel brochure. Our expectations are inverted as we see the city permanently engulfed in a dolorous winter grey, wet and, by night, an anaemic dark. [Read More]

Colm McAuliffe, 'Leaving it to Chance: Maverick Director Nicolas Roeg On Don't Look Now'

The Quietus, 27 June 2011

Daphne du Maurier, The Doll: Short Stories

A new collection of du Maurier's short fiction

Helen Taylor reviews Daphne du Maurier's recently published The Doll: Short Stories in The Independent: 'Du Maurier employs well the assured balancing of uncanny possibilities, the clever manipulation of unconscious fears and desires, and the bitterly wry sense of absurdity that were to characterise her finest fiction.' [Read More]