Blow-Up - Depois Daquele Beijo

BLOW-UP is the story of a successful fashion photographer, Thomas (David Hemmings), who, whilst scouting for fresh subjects in a park one afternoon, photographs a mysterious couple in 'flagrante delicto.' Upon returning to his studio loft later that day, he develops the pictures and discovers that he has inadvertently stumbled upon a murder. Antonioni is not interested in the details of the murder itself, as in a typical detective story, but rather with how the protagonist's perception of the world, and his relationship to it, is altered by this event.

As a fashion photographer, Thomas is a creator of illusions that define a certain kind of young urban lifestyle and Antonioni's flagrant use of the loud, splashy, attention-grabbing colors of billboard advertising -- a visual association elevated to an unholy apotheosis in his next film, ZABRISKIE POINT (1970) -- brings to the surface the transient sensation and hollow artifice that lies at the heart of all pop culture consumerism. In his previous work, RED DESERT (1964), Antonioni spray-painted both the man-made décor as well as the natural setting as a means of giving concrete expression to the heroine's neurotic state of mind and her ameliorative aestheticizing vision of a world despoiled by technology and pollution. He does the same in BLOW-UP, painting doors, fences, poles, and the façades of entire buildings to emphasize the exhilaration and alienation that characterizes life in a large modern city.

Psychedelic colors make the 'real' world of the film seem exaggerated and hyperbolic like a fantastic 'surface' reality, while the 'captured' and reconstructed world of the photographs appears ominously stark, grainy, and documentary-like -- the bare, denuded 'essence' of reality. In the central montage sequence of the film, the camera -- in place of Thomas' eyes -- slowly moves back and forth from one photograph to the next, and likewise, Antonioni cuts back and forth from the pictures to the protagonist looking at them. Since the act of looking at these enhanced images effectively reconstructs an event that the protagonist -- and the audience -- never actually saw with the naked eye in 'real life,' technology is shown to reveal a new surface of the world that is normally hidden from view. Antonioni's own particular brand of phenomenological Neorealism is concerned primarily with the process of seeing through a camera as a way of exposing an ultimate truth, or a lack thereof, that underlies the surface of the world.

The curious self-reflexivity of this scene is an epistemological hall of mirrors: Antonioni's camera looks at Thomas looking at photographs which are blown up larger and larger so that eventually they become merely an abstract collection of dots, a Rorschach test in which almost anything can be read. Like the Abstract Expressionist paintings of the tormented artist son in Pasolini's TEOREMA (1968), the received cultural baggage and semiotic referentiality of the image is eliminated until all that remains is purest subjectivity of the spectator. And so, picture-making technology mediates reality only up to a point: once the threshold of referentiality has been crossed, the suspicion of a murder in the park gleaned from a series of enlarged photographs would seem to say more about Thomas' own paranoid state of mind than what his camera may or may not have recorded.

This subtextual aspect of the film has been compared to the controversy surrounding the various interpretations of the Abraham Zapruder film as a definitive and reliable record of the Kennedy assassination -- and particularly, the mystery of the notorious 'grassy knoll.' Also, the possible incidence of adultery and The Girl's desperate efforts to retrieve the film suggest the scandalous fallout of the Profumo affair. Vanessa Redgrave, with her thick, dark brown hair and affected temptress-naïf manner, hinted at by a schoolgirl outfit and arms folded seductively over her breasts, seems meant to evoke, for a British audience at least, then-recent memories of Christine Keeler.

BLOW-UP is full of visual and verbal non-sequiturs and nearly all the scenes are composed of long-takes with plenty of 'longeurs' and 'temps mort.' This real-time approach -- often fragmented by abrupt and seemingly arbitrary cuts -- faithfully simulates Thomas' experience and the mechanical routine of his creative process and its fleeting moments of sudden inspiration and frenzied excitement. All throughout the film there is a recurrent pattern of relationships left unconsummated and work left undone. Just as he appears on the verge of establishing meaningful contact with someone or about to finally resolve himself to some efficacious deed or another, he is immediately distracted by something else that pops up.

Thomas resembles Odysseus in the way he is continually thwarted by chance encounters, which cause him to lose sight of his mission. Indeed, the film's meandering, episodic plot does seem to have elements of classical epic: the rock concert and the marijuana party afterward all suggest a ritual journey through a modern 'Land of the Lotus-Eaters.' Ironically, it is just when he discovers a sense of emotional commitment and social obligation in his life that his self-justifying cynicism and arrogant indifference toward others is replaced by a growing sense of impotence and defeat. In the final scene, speech is phased out of the film entirely, leaving only a silent form of physical communication unmediated by language and social pretensions.

BLOW-UP was the Antonioni's greatest commercial and critical triumph and the film's narrative -- an odyssey through a modern city, following the protagonist from feigned poverty to the false security of wealth and ending on a note of final lingering doubt about one's place and purpose in the world -- seems itself a trenchant comment on the nature of success and what it does to people. By transposing to 'Swinging London' the Marxist concerns of his Italian films, Antonioni demonstrates once again that this malaise of modern life is not caused by technology and consumer culture but rather by man's failure to adapt to the conditions of the new environment he has created for himself.

I realize that this is a cinema classic, taught in cinema courses everywhere. And I recognize that there is some pretty remarkable stuff here. But some of it I found very off-putting.

First, to the good: the cinematography is almost constantly remarkable. The way scenes are framed, the constant variation of camera angles, the switches between close and far, etc. I almost would have preferred this without sound. There was so much of interest to watch.

There was little of interest to hear, however. The dialogue is inane. And the protagonist is an egotistical, selfish, thoroughly repugnant excuse for a man. Maybe he's alienated from his world. Why would I care? He does everything to demonstrate that he cares about nothing and no one but himself.

Just past the midpoint of this movie, it starts to become interesting when the photographer detects something in the background of one of his photos. When it turns out a man was murdered, he wants to know more. But why? He's never shown any interest in anything other than himself up until then?

And, finally, he seems to forget about it all.

Watch this once for the amazing camerawork. But as for the plot, the characters, and the rest, don't expect to be engaged. I certainly wasn't.

BLOW-UP is NOT "about the possible dehumanizing effects of photography..." but rather a movie version of the philosophical question: "If a tree falls in the forest and no one hears it, does it make a sound?"

In this case, if a murder is committed and there is no evidence, did it really happen?

While seemingly about a successful, but hedonistically superficial, photographer who films both wartime brutalities and fashion, Thomas (David Hemmings) comes to finally realize that his images only create an illusion of the real world.

He discovers that he has accidentally photographed a murder when he develops and enlarges ("blows up") the images of photographs taken of a couple in an otherwise deserted park. He even returns to the scene and finds the victim's body. But when the photographs AND the negatives AND the body disappears AND there is no report of a missing person, he discovers that he has no evidence of a murder having occurred.

In the end, when he throws back the imaginary tennis ball to the pantomime players on the tennis court, he realizes that what he accepts as reality is really only an illusion.

I would recommend that people who are considering watching this film for the first time not read the following. I don't mention the film's ending, I just believe its far more satisfying to let the films potent details nervously sink into place on their own.

It is not about cameras. It is not about seeing. It is about our perception of our individual world. It throws shadows on the very judgments we build our lives upon. Without mentioning the obvious references to illusion (the mimes, the abstract picture of the corpse, etc.), I offer the following expert signposts Antonioni leaves for us to find.

1) The guitar neck David snatches at the rave-up has value only until he is not being chased for it, whereupon he discards it in the street. The pedestrian who then picks it up sees it only as junk.

2) Dialogue with his model friend at the pot party: DAVID - ` I thought you were in Paris.' THE GIRL - `I am'.

3) Appearances and Disappearance (2 of the many). The Lynn Redgrave character pops up as he arrives at his apartment. His question `How did you find me' is not explained. Later in the story, it is notably odd when David wakes up the following morning after the pot party that there is no one to be seen in the party house. Even the decorations like the clothes hung on the statue the night before have vanished.

4) David teaches the affectations of smoking to the woman. She must create an impression.

5) His painter friend describes his painting. `They don't mean anything to me while I work on them. Its only later that I ascribed something to them. Like this leg.' Whereupon he points out a place in a painting that might be a human leg. When he paints, he is tapping subconscious language, something apart from subjective and objective reality. Its as if Antonioni is offering us an even further vantage point to the events to come, dream reality.

6) The rambling diversion of events shows David's inability to `focus' on working through his mystery.

7) So much is hidden from the viewer. Its almost suggested that the real end to the narrative takes place someplace after the movie has already finished, jarring our sense of story, insinuating an ending we never get to `see'.

8) David announces at one point to his friend, `If only I had more money I'd be all right.'. Meanwhile he drives through the whole movie in his Rolls Royce.

This is a very remarkable film. 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.

Antonioni's Blow-Up was the biggest hit of the Italian director's career, the superficial elements of the fashion world, Swinging London and orgies on purple paper ensuring its commercial success.

Models such as Veruschka (who appears in the film), Twiggy and fashion photographers at the time have complained about its unrealistic depiction of the industry and claimed that its central character, Thomas (played by the late David Hemmings) was clearly based on David Bailey.

To look at Blow-Up as an analysis of the fashion business in the Sixties is to misunderstand the film's intentions. In any case, when watching this film it may be difficult to tell what its all about if you're unfamiliar with Antonioni's films but it obviously has little to do with the fashion world which is merely the setting for the story and nothing more.

Antonioni made the clearest statement of his motivation as a filmmaker at the end of Beyond the Clouds when he talked about his belief that reality is unattainable as it is submerged by layers of images which are only versions of reality.

This is a rather pretentious way of saying that everyone perceives reality in their own way and ultimately see only what they want to see.

With this philosophy in mind, Blow-Up is probably Antonioni's most personal film.

Thomas' hollow, self-obsessed world is shattered when he discovers that he may have photographed a murder when casually taking pictures in a park. He encounters a mysterious woman, Jane (Vanessa Redgrave) who demands he hand over the film and when he refuses she appears at his studio, although Thomas never told her his address.

When the evidence disappears shortly afterwards, Blow-Up seems to deal in riddles that have no solution. Redgrave re-appears and then vanishes before the photographer's eyes, Thomas returns to the park without his camera and sees the body. The film concludes with Thomas, having discovered the body has disappeared, watching a group of mimes playing tennis without a ball or rackets in the park where the murder may have taken place.

It is only in the final scene of the film where the riddle is solved. Thomas throws the imaginary ball back into the court and watches the game resume. The look of realisation on his face is all too apparent as the game CAN BE HEARD taking place out of shot.

There is a ball, there are rackets and this is a real game of tennis. What we have seen up until this point is the photographer's perception of reality: the murder, the mysterious woman in the park, the photographic evidence and the body.

The following exchange between Hemmings and Redgrave is the key to the film:

Thomas: Don't let's spoil everything, we've only just met.

Jane: No, we haven't met. You've never seen me.