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John Travolta is a sound engineer out in the woods during the dead of night trying to record some woods type noises for the latest film he's working on when he sees an accident in which a state governor is killed, a potential presidential candidate. He also records the distinct sound of a gunshot before the car went off a bridge and into a creek at night. Travolta also dives into the creek and rescues Nancy Allen, but is unable to save the male in the car. He finds out later about his VIP status.

Director Brian DePalma obviously used a twist on the tragedy at Chappaquiddick as the basis for Blow Out. The title comes from the official police investigation where they say the car had a blowout which caused the accident, but Travolta insists on his version. And his sticking to the story is making a lot of people uncomfortable.

Travolta does a nice job in a film role that a generation or two earlier James Stewart might have done, the average every man who gets heroic status thrust upon him. He's an ordinary man, but he wants the truth to come out.

Look also for some good performances by Dennis Franz as a sleazy photographer and John Lithgow as a very thorough killer who really loves his job. He not only wants to hide his murder in a forest, he plants his own forest so to speak.

Brian DePalma keeps the tension moving at all times in a manner worthy of Hitchcock. It was a good part for John Travolta, one of the last he would get acclaim for for some time.

I was blown away by Brian DePalma's "Blow Out" (1981), the Real American Classic from the 80th. Yes, of course, De Palma pays homage to both, "Blow Up" and "Conversation" but "Blow Out" is a vintage DePalma at his best, in his glory and brilliance. The story is great, packed with twists and turns and also lets us peek once again as in Body Double" at the B-movies making process. John Travolta is Jack Terri, a sound technician who rescues a girl (Nancy Allen) from a car that crashes into a river after a blow out. The man who drove the car did not survive and he happened to be the next presidential candidate. Jack soon realizes that it was not just a blow out but a murder, and he's got an evidence to prove it, the tape that he made on the bridge while recording the background noises for the movie. As good as the story is, it does not forget its characters, and they are memorable and multi-dimensional. The actors are terrific. It was the time when John Travolta was both cute without being smug and compelling. Nancy Allen as Sally, was sweet and heartbreaking, Dennis Franz's character, Manny Karp, the petty blackmailer who got more than he bargained for was fun to watch, and John Lithgow made such a chilling villain that Anthony Hopkins could've learned something from him. I did not even start on Vilmos Zsigmond's camera work. Only one word comes to mind - mesmerizing. The final chase sequence on the streets of Philadelphia during the celebration of the ringing of the Liberty Bell is as well staged and shut and as exiting as the similar climatic chase on Mount Rushmore in Hitchcock's "North By Northwest". The movie is perfectly balanced by the last scene and the hilarious opening scene mirroring each other but this time the scream is different. It IS a good scream that came from the streets of Philadelphia.

In 1981, Brian De Palma released what might be considered his "best" thriller to date. The "Slasher" genre was at full blossom, and the conspiracy driven, psychological thrillers of the 1970s were slowly declining in terms of popularity.

"Blow Out" stars John Travolta as Jack, a sound engineer for an independent movie picture, that discovers what first appears to be a tragic car-accident - is in fact a murder. Sally, who is rescued from the wreck by the protagonist (Travolta) himself stays as his counterpart though out the movie. Jack must set the story straight, and prove the police wrong.

De Palma is known for his themes of guilt, paranoia and obsession which work as essential parts for the character development in "Blow Out". It's a hell of ride from start to finish, and one can truly state that Brian De Palma is a master of suspense.

The acting of John Travolta is superb and convincing, and I dare to say that it's his best role to date. I was a bit skeptical to Nancy Allen at first, but her naive character grew on me over the course of the film, and might actually be one of the things that makes this film so great; that is believable character development without the often sudden change of identity.

Blow out is stylish, and both the directing of De Palma and cinematography of Vilmos Zsigmond is highly impressive. From beautifully shot scenes in the vein of Francis Ford Coppola to the drastic suspense of Hitchcock, De Palma uses all the best tricks in the book.

"Blow Out" is non-stop suspense thriller that will keep you on the edge of your seat from start to finish. The last 15 minutes finale is quite extraordinary. The atmosphere, mood and cinematography are all close perfect. It truly is Brian De Palma's forgotten masterpiece.

The opening of this movie must rival Bullit as cool openings go. Wonderfully shot throughout, and even though you can see how dated the film is just by Travoltas' and Allens' hair and dress sense, it doesn't affect the quality. The story is competent, but what makes the film is DePalma's treatment. The quiet scenes and the complete focus on noise, other than that of the characters talking. Visuals and backgrounds start this movie and run all the way through the major scenes, finally closing it. This is an excellent thriller, and many modern films of this genre should take notes. A great movie.

Brian De Palma's ''Blow Out'' starring John Travolta, Nancy Allen and John Lithgow would go down as my favourite film (just ahead of "Causalities of War" and ''Dressed to Kill'') of his on-going filmography. Usually I find him to be an on-and-off director, and ''Blow Out'' was switched on. It's one of those presentations that doesn't just hold you there with its captivating sombre murder mystery (similar to Blow-Up and 'The Conversation') relating to a political conspiracy, but also De Palma's showy technical side is nothing short than exquisitely striking. Well you might say that's the case for most of his work, however on this occasion its extremely well controlled to balance the story and it isn't so much the peering camera and sharp editing (although still commendably evident and how can you go wrong with split frames) but the ingenious use of sound effects and the ironic nature of our main protagonist being an audio technician for b-grade horror movies (which within the building he works bestows some cool horror posters that fans will surely pick up on).

The layered story has that old-fashion noir quality, with the momentum building upon mood and suspense constructing illuminating atmospherics and consisting of fitting performances. While the brooding plot screws around with its webby developments and taut tension, never does the suspiciously tactical script entirely pick it apart with any sort of depth or rationality. In the end its quite basic. However this made the harrowing impact of the film's conclusion even more lasting, as the emotional brunt came from De Palma's intensely slick visual work like the stirring slow-motion climax with Pino Donaggio's harrowing score (which holds a delightfully crisp and variable arrangement throughout). It's top drawer in De Palma's illustratively intimate details oozing with colour, tones and shades with it being served by some beautifully projected expressive photography and a lingering nasty current. An excellent John Travolta brings a convicted temperament to the lead and a bubbling Nancy Allen adds a perky injection. A precisely scheming performance by John Lithgow is truly menacing. Also in support is Denis Franz.

An enjoyably stylish, if simple thriller.