Michelangelo Antonioni-Blowup (1966)

Professional photographer Thomas saw nothing. And he saw everything. Enlargements of pictures he secretly took of a romantic couple in the park reveal a murder in progress. Or do they?... (-DVD cover)





Winner of 1966 Best Picture and Director Awards from the then-new National Society of Film Critics, Michelangelo Antonioni's Blowup is an influential, stylish study of paranoid intrigue and disorientation. It is also a time capsule of mod London, a mindscape of the era's fashions, free love, parties, music (Herbie Hancock wrote the score and The Yardbirds riff at a club) and hip langour. David Hemmings plays the jaded photographer enlivened by the mystery in his photos. Vanessa Redgrave is the elusive woman pictured in them. And the enigma of what you see, what you don't see, what you don't see and what the camera sees is yours to solve. (-DVD cover)




A photographer who is talented but aimless has photographed violence and pain without feeling any involvement. When he takes pictures of a couple in a park, he finds that he may have discovered a mystery, one that insists on involving him. (http://imdb.com/title/tt0060176/plotsummary)




A London fashion photographer frolics with young models, then meets the mysterious Vanessa Redgrave. He takes a photo in a park. Back in his darkroom as he enlarges it, he sees a suggestion of something in the photo he never noticed while taking it. Has a crime occurred? (http://imdb.com/title/tt0060176/plotsummary)




Has he truly photographed a murder in progress? Is he privy to more than he should be, and could this have some danger in store for him? Antonioni toys with the audience, never letting in on Redgrave's character, but letting us experience the world through Hemmings untrustworthy eyes and superficial values that momentarily seem to have been thrown out of whack due to this disquieting incident. The problem is, what Hemmings sees may or may not be true -- a classic shot where he tries to find Redgrave and he sees her in the middle of a walking crowd and she literally makes an about-face and disappears from view. Just like that. And his grasp of the mystery emanating from his brush with her at the park, like even Hemmings at the end, is gone, dissolved into the grass. (http://imdb.com/title/tt0060176/usercomments)





Antonioni makes great use of insinuation. He tantalizes us with the possibility of what could have been. In us he insights the same passion that is in Thomas. In the end, I don't think he disappears so much as he returns. He does not return as the same person, though. He is changed by the passion for his art and the challenge of reality. He is no longer playing the game of catch the murderer, or faking the motions of being a photographer, or posing as a deep artist by taking sad pictures. He is now truly inspired (http://imdb.com/title/tt0060176/usercomments)





'Blowup' is frequently mentioned as one of the most influential movies of the twentieth century. And I believe it is. But it is no dry and dull document that the viewer must force himself to "appreciate" while he stifles his yawns. Like 'Citizen Kane', 'Breathless' and 'Psycho' it is not only an important movie milestone, it is still a living and breathing work of art that will fascinate and impress any movie lover who approaches it with an open mind. 'Blowup' lures you in with its snapshot of swinging 60s London, and it's tease of being a murder mystery, which it really isn't, but by then you're hooked. This movie is a puzzle with no solution, a text with any interpretation the viewer cares to bring to it. That may sound heavy going and off putting, but this is a surprisingly watchable movie. Even the "boring" sequences are interesting! I think it gets better with every viewing. (http://imdb.com/title/tt0060176/usercomments)





I was irked by the pacing and the diversions as I watched it, but that was exactly why it all kept coming and coming at me for hours after until finally in bed it all rushed through me like a gorgeous musical event. I know for certain there are many more hidden corners to it, but this is what I got in my first viewing. Just that gut feeling that I missed something, I believe, is exactly where Antonioni was going. You always miss something (http://imdb.com/title/tt0060176/usercomments)







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