Movie Review: Blow Up (1966)

Blow-Up, an adaptation of Julio Cortázar’s short story “Las babas del diablo,” is the first English movie directed by legendary Italian director Michelangelo Antonioni. Antonioni is known for making mood pieces. Film critic Arthur Knight wrote that Blow-Up is a defining movie, akin to Orson Welles’ Citizen Kane. Antonioni’s masterpiece would influence the works of other great directors like Francis Ford Coppola and Brian De Palma.

While it is considered an avant-garde mystery film, Blow-Up extends itself beyond to be considered a psychological thriller, fantasy film, and much more. It even defines some genres that no one had previously envisioned. It is a movie experience that will leave an impact on its viewers for decades to come.

It is important to set the context of this film before we look at its plot. The movie is set in the Swinging London of the 1960s. While the Hippie and Pop culture flourished in the US, an equivalent counter-culture, Mod (Modernist) or Underground, took shape in the UK.

The culture saw the emergence of both pop and rock music. Iconic rock bands like the Beatles, the Rolling Stones, and the Yardbirds appeared in this era. New trends like the mini skirt were redefining fashion. It was also a period of hedonism and drugs. “Swinging London” was considered the center of this movement. Blow-Up gives us a bird’s eye view into this era.

As the movie begins, the imagery in the first few minutes is adequate to announce that we are in for a treat and that it is no mundane film. The stunning photography of this movie is the work of legendary cinematographer Carlo De Palma.

The opening scene features a minibus full of loud and rowdy youngsters, dressed up as mimes, riding through the streets of London. The youth prowl the streets causing commotion and seem to be enjoying themselves. Despite being boisterous, the youth are not violent and simply causing a noisy ruckus on the street. Each frame is a snapshot in time, showing homes, buildings, and passersby of 1960s London as the van makes its way.

Soon, a vintage Rolls Royce convertible appears on the scene, and in it, is a young man wearing casual but trendy clothes. The young man is revealed to be Thomas, a successful photographer. David Hemmings, who plays Thomas, portrays one of the most unique personalities ever seen on screen.

Thomas is handsome, arrogant, hedonistic, and misogynistic. He seems to be living the life that most young men would covet. He is seen entering a very unique fashion studio, talking down to the beautiful models who are vying for his attention as he makes his way for a photo shoot with supermodel Veruschka (playing herself). He then commences his next photo shoot with a handful of models but suddenly walks away, leaving the models shocked and upset.

Thomas seems upset at everything and nothing, indicating an underlying feeling of ennui for what is his mundane life.

He disregards his other engagements for the day and abruptly leaves after some banter with one of his colleagues. Two aspiring models accost him outside the studio and ask to be photographed, but Thomas rudely pushes them away. He rides across London, stops at an antique shop, perhaps hoping to find something to arouse his interest. He buys an antique propeller from the store and asks them to have it delivered immediately.

Next, Thomas meets his agent Ron at a restaurant and hands the latter a photo album with artistic photographs of regular people in various settings. Thomas is working with Ron to create a book of photographs. He then impulsively drives to Marlon Park, parks his car, and steps out, camera in hand.

He makes his way across the park, taking photos of some people and birds. Yes, the movie is a slow burner, and the plot ambles along at this pace. However, the visuals on screen are adequate to keep the viewer engaged. David then sees a couple, a man and woman prancing across the lawn embracing and holding hands.

He takes a number of photos of them. When Thomas notices that the woman (Vanessa Redgrave) has caught him photographing herself and her mate, he quickly makes his way to the car. She catches up to him and demands that he give her the film and is upset that Thomas has invaded her privacy. The man who was with her is nowhere in sight.

Thomas, ever the bully, refuses and arrogantly plays cruel mind games on her and makes it clear that he is in charge. He then drives away. He returns to the studio, and to his surprise, finds the woman at the door of the studio. He lets her into the studio, and the two of them indulge in some weird game of flirtation. The woman, who identifies as Jane, does not reveal anything about herself and demands that Thomas must hand the film of her with her mate to her.

Immature Thomas tricks Jane by giving her another roll of film and sends her away. The two aspiring models that Thomas met outside the studio earlier return begging for a shoot. This time, Thomas and the two of them play a weird version of roughhouse until Thomas is bored and sends them away again, claiming that he will do a photo shoot with them the following day.

Now, curious about why the woman wants the roll of film so desperately, Thomas starts to develop the film roll. He slowly notices someone else hiding in the bushes in some of the photos. One of the photos also seems to reveal this mysterious person pointing a gun at the couple.

Thomas, thinking that he has prevented a murder, calls Ron and tells him about his encounter at the park. No longer bored, Thomas is now completely absorbed in uncovering what he thinks is a mystery. That night, he returns to the same spot in the park and finds the lifeless corpse of the man who was with Jane earlier in the day. Stranger things happen when Thomas returns to the studio.

Thomas is now fully engaged. The rest of the plot is about how Thomas tries to solve the puzzle behind these strange happenings. The climax and ending are both unique and profound and blur the lines of fantasy and reality.

Many themes from Hitchcock like voyeurism, illusion, and more are presented in this film, but with a finessed, artistic touch. This movie may not be for everyone, as the plot, unlike the cinematography, moves slowly. For those looking for a movie that breaks conventional plot lines or for scintillating visuals, this movie will be an unforgettable experience. Last but not least, the acting in the movie cannot be overstated. David Hemmings’ performance as Thomas is spectacular. He occupies most of the frames in the movie and dominates the movie. Vanessa Redgrave also holds her own, and Sarah Miles is impressive in a supporting role. The supporting cast also puts in an excellent performance. While Blow-Up was known for its ‘explicit nudity’ for its time, the few scenes that display flesh seem mild compared to contemporary films.

As mentioned before, this movie opens a window into Swinging London and presents snapshots of the Underground subculture, its prevalent practices like hedonism and drug use,