Blow Out

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.

Jack is a sound editor for small films. When he is out one evening recording background noises, he inadvertently records a car crash which kills a politician running for the US Presidency, although Jack saves a girl in the car. When pressured to say that the politician was alone, Jack finds that his recording may prove that it was murder and not an accident. However someone is cutting off the loose ends around the crime.

A clever rework of Blow-Up that is given a thriller twist and visual style by De Palma. The story is quite straight forward and doesn't contain too many twists and turns. However it does have a good premise at it's core and it builds to a suitably low-key ending.

De Palma works well with the material – at some points it's a little obtrusive, but he certainly can frame a shot. From his use of foreground and background focusing to the scene where Travolta realises what he has on tape – he has style to spare. He handles the ending well but perhaps feels he wants to be like Coppola a bit too much.

Pre-career dip Travolta gives his best performance before Pulp Fiction – he plays the everyman really well and is totally convincing. Allen is a little too squeaky and irritating, but get past this and she's OK. Franz is on-form as a sleazy opportunist, while Lithgow is chilling as a ruthless, clinical killer.

Overall it occasionally feels like there is more style than substance but everyone holds their end up and the result is a solid, enjoyable thriller that maybe pays a bit too much homage to other work.

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.

Jack Terri is a soundman for a B-movie studio. One night as he is out recording sounds for a film he sees an accident - a car swerves through a guard rail and into a river. Jack jumps in in effort to help and sees that the driver is dead, but he manages to save the passenger. He soon finds out that the driver was the current favorite in the presidential election and after listening to the recording he suspects that what happened was no accident.

This is the type of movie many people call a rip-off as not only does it take an idea from a previous story and film ('Blow Up') it is one of DePalma's many Hitchcockian efforts. However, under his direction the film feels fresh and moves very well. It is 13 years before John Travolta made 'Pulp Fiction' but he was already a good lead actor. Dennis Franz also gives a good turn as a photographer who knows more than he is telling.

However, the scene stealer, would have to be John Lithgow who stoically walks his way through the film as a ruthless killer who wants to remove Jack Terri for the evidence he has. Rarely is such a emotionless and callous role played out so well to such great effect.

Then there is DePalma's direction which is the great thing that put all the good stuff together. He has a particular skill of blending shots/scenes without dissolves and that carries the movie is an interesting way. Using shadows, silhouettes, rotating camera shots he is truly a master in good form here. 9/10

Rated R: some grisly violence, and profanity