Blow-Up

 

Picture: B-     Sound: B-     Extras: B+      Film A

 

 

A filmmaker is a visionary, similar to that of a photographer.  For the filmmaker their world exists in a series of snapshots. While the photographer captures life in stills, the other does so in motion.  There have been a few instances when the world of a the photographer and the world of the filmmaker have joined or even a filmmaker following the world of a visionary such as the case in 1929’s Man with the Movie Camera or Michael Powell’s Peeping Tom (1960).  However, in Antonioni’s Blow-Up (1966) our world becomes fused with the world of our main character, a photographer. 

 

In this case, the filmmaker creates a world for the characters, but the characters are also creating a world themselves, which is the pictures.  Photography is a unique art in that it slows down life to a single still image, which can say many things with just that simple image.  Motion pictures are sped up stills, which often time never say much because they are too concerned with speeding up life that we are never given the chance to enjoy the stillness.  Then we have filmmakers who have been able to create unforgettable still images within their framework; Welles, Chaplin, Kubrick, Hitchcock are masters of this.  Antonioni is a craftsman well aware of the work that he was doing and this was established within his films such as L’Avventura and The Passenger, but Blow-Up is considered his most well-known and recognized work. 

 

Films that have dealt with making a movie such as Fellini’s 8 1/2, Bowfinger, State and Main or even Cecil B. Demented usually run into the problem that the line between the real film and the one being portrayed become jaded, while with Blow-Up or even the more recent One Hour Photo (2002) the world of photography is explored in a way that the fine line is slightly crossed to the point that the filmmaker is aware of the boundary and plays with that.  Blow-Up is a classic all on its own for its ability to manipulate the viewer without them even knowing it.  Our photographer in Antonioni’s film (played by David Hemmings) uncovers a murder when he enlarges one of his photographs, which reminded me of a few moments in David Fincher’s Se7en as Brad Pitt and Morgan Freeman also find a few photographs along their journey. 

 

Issued finally through Warner Blow-Up is available on DVD with all the bells and whistles that were certainly not expected, but gladly received. This film also appeals more to the U.S. shores for the simple fact that this is Antonioni’s first English-language film.  Presented in a 1.85 X 1 transfer Blow-Up looks superb giving little trace that this film was from 1966.  This is only Antonioni’s second color film, following Red Desert (1964).  Color here was used very effectively, even when it seems subtle.  Cinematographer Carlo Di Palma also worked with Antonioni on Red Desert and would do mostly European films until working with Woody Allen on nine films.  

 

Di Palma utilizes the space within the frame and uses interesting depth shots, which are tricky given available lighting, and to make things appear natural.  The transfer allows all the detail to be seen even though it can appear slightly soft at times.  The print is relatively clean with a very life-like quality.  Notice around the 53-minute mark that the labels on the chemicals in the dark room are hard to read.  This is just once instance of how detail is slightly softer than it could be, but just having a clean print of this film with accurate colors makes up for some of it. 

 

In keeping with the films mono origins Warner has issued the film with that same mono sound in a 2.0 configuration.  There is an option to listen to the film with a music-only track highlighting the Jazzed up Herbie Hancock score for the film giving this film all the swingin’ groove it needs.  The other audio track includes a commentary by author Peter Brunette giving all his insights into the film as well as factoids along the way.  This is one of the better commentary tracks because he never tries to talk down to the listener, yet provides interesting information about the film and cross-references it with the era of the 60’s.  There are two trailers for the film, one is the teaser and the other appears to be the U.S. trailer. 

 

Blow-Up is a very personal film, which would also be Antonioni’s most successful film and provide an interesting commentary on the Fashion industry of the 60’s and the Swingers movement in general.  All of this, while remaining very aesthetically sound the film would become more critically acclaimed making its way to the tops of many all-time lists.  Whether one realizes it or not, this film is like good wine, it gets better with time and luckily Warner has been able to fulfill the demand by issuing the film in a very much appreciated edition with a pleasing transfer and extras that go the distance. This is one of the more important films in Warner’s catalog and they have done it justice for the DVD format.  Also highly recommended is Brian De Palma’s Blow Out (1981), David Lynch’s Blue Velvet (1986), and the more recent 2003 film Swimming Pool.

 

 

-   Nate Goss