IMDb > Blowup (1966)
Blowup
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Blowup (1966) More at IMDbPro »

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Overview

User Rating:
7.7/10   43,402 votes »
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Popularity: ?
Up 6% in popularity this week. See why on IMDbPro.
Writers:
Michelangelo Antonioni (story)
Julio Cortázar (short story "Las babas del diablo")
(more)
Contact:
View company contact information for Blowup on IMDbPro.
Release Date:
24 February 1967 (Brazil) See more »
Genre:
Tagline:
Michelangelo Antonioni's first British film See more »
Plot:
A mod London photographer finds something very suspicious in the shots he has taken of a mysterious beauty in a desolate park. Full summary » | Full synopsis »
Plot Keywords:
Awards:
Nominated for 2 Oscars. Another 9 wins & 4 nominations See more »
User Reviews:
You always miss something See more (260 total) »

Cast

  (in credits order) (verified as complete)

Vanessa Redgrave ... Jane

Sarah Miles ... Patricia

David Hemmings ... Thomas

John Castle ... Bill

Jane Birkin ... The Blonde
Gillian Hills ... The Brunette

Peter Bowles ... Ron

Veruschka von Lehndorff ... Verushka
Julian Chagrin ... Mime
Claude Chagrin ... Mime
rest of cast listed alphabetically:

Jeff Beck ... Himself - The Yardbirds (uncredited)
Susan Brodrick ... Antique shop owner (uncredited)

Tsai Chin ... Thomas's receptionist (uncredited)

Julio Cortázar ... Homeless Man (uncredited)
Chris Dreja ... Himself - The Yardbirds (uncredited)
Melanie Hampshire ... Model (uncredited)
Harry Hutchinson ... Shopkeeper (uncredited)
Jill Kennington ... Model (uncredited)
Mary Khal ... Fashion editor (uncredited)
Chas Lawther ... Waiter (uncredited)
Dyson Lovell ... Man outside restaurant (uncredited)
Jim McCarty ... Himself - The Yardbirds (uncredited)
Peggy Moffitt ... Model (uncredited)
Rosaleen Murray ... Model (uncredited)
Ann Norman ... Model (uncredited)
Ronan O'Casey ... Jane's lover in park (uncredited)

Jimmy Page ... Himself - The Yardbirds (uncredited)
Keith Relf ... Himself - The Yardbirds (uncredited)
Janet Street-Porter ... Girl Dancing In Ricky Tick Club (uncredited)

Reg Wilkins ... Reg - Thomas's assistant (uncredited)
Fred Wood ... Homeless Man (uncredited)

Directed by
Michelangelo Antonioni 
 
Writing credits
Michelangelo Antonioni (story)

Julio Cortázar (short story "Las babas del diablo") (as Julio Cortazar)

Michelangelo Antonioni (screenplay) and
Tonino Guerra (screenplay)

Edward Bond (English dialogue)

Produced by
Carlo Ponti .... producer
Pierre Rouve .... executive producer
 
Original Music by
Herbie Hancock  (as Herbert Hancock)
 
Cinematography by
Carlo Di Palma  (as Carlo di Palma)
 
Film Editing by
Frank Clarke (uncredited)
 
Casting by
Irene Howard (uncredited)
 
Art Direction by
Assheton Gorton 
 
Costume Design by
Jocelyn Rickards (dresses)
 
Makeup Department
Stephanie Kaye .... hair stylist
Paul Rabiger .... makeup artist
 
Production Management
Donald Toms .... production manager
Roy Parkinson .... production supervisor (uncredited)
 
Second Unit Director or Assistant Director
Claude Watson .... assistant director
Adrian Hughes .... first assistant director (uncredited)
Antal Kovacs .... second assistant director (uncredited)
Grania O'Shannon .... second assistant director (uncredited)
 
Art Department
Roger King .... assistant art director (uncredited)
Alan Roderick-Jones .... draughtsman (uncredited)
Michael Seymour .... assistant art director (uncredited)
 
Sound Department
Robin Gregory .... sound recordist
Mike Le Mare .... sound editor
J.B. Smith .... dubbing mixer
Fernando Caso .... sound effects editor (uncredited)
Arkadi De Rakoff .... assistant sound (uncredited)
Alvaro Gramigna .... foley artist (uncredited)
Ray Palmer .... sound assistant (uncredited)
Michael Sale .... sound assistant (uncredited)
 
Camera and Electrical Department
Ray Parslow .... camera operator
David Wynn-Jones .... assistant camera
Terry Cole .... clapper loader (uncredited)
Arthur Evans .... still photographer (uncredited)
Brian Harris .... clapper / loader (uncredited)
Dennis C. Lewiston .... camera operator: second unit (uncredited)
Alec Mills .... focus puller (uncredited)
Mike Rutter .... clapper loader (uncredited)
 
Costume and Wardrobe Department
Rebecca Breed .... wardrobe supervisor (as Jackie Breed)
Evangeline Harrison .... assistant costume designer (uncredited)
 
Editorial Department
Alan Corder .... assembly cutter (uncredited)
 
Location Management
Bruce Sharman .... location manager
 
Other crew
John Cowan .... photographic murals
Piers Haggard .... dialogue assistant
Betty Harley .... continuity
 
Crew verified as complete


Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Blow-Up" - International (English title) (imdb display title), Italy, UK (imdb display title), USA
"Blow Up" - Mexico (imdb display title), Uruguay (original subtitled version)
"Deseo en una mañana de verano" - Mexico (alternative title), Peru (imdb display title)
"Фотоувеличение" - Bulgaria (Bulgarian title)
"Фотоувеличение" - Soviet Union (Russian title)
"Blow Up" - West Germany
"Blow Up" - Greece
"Blow Up" - France (imdb display title)
"Blow-Up" - Canada (French title)
"Blow-Up (Deseo de una mañana de verano)" - Spain (imdb display title)
"Blow-Up - Depois Daquele Beijo" - Brazil
"Blow-Up - Deseo en una mañana de verano" - Argentina (imdb display title)
"Blow-Up - Erään suudelman jälkeen" - Finland (video box title)
"Blow-up - förstoringen" - Sweden (imdb display title)
"Cinayeti gördüm" - Turkey (Turkish title)
"Ekstaze '67" - West Germany
"História de Um Fotógrafo" - Portugal
"Nagyítás" - Hungary
"Poveæanje" - Croatia
"Povecava" - Slovenia (imdb display title)
"Powiekszenie" - Poland
"Uvećanje" - Serbia
"Yetzarim" - Israel (Hebrew title)
"Yokubô" - Japan (imdb display title)
"Yokubou" - Japan (DVD title)
"Zvetsenina" - Czechoslovakia (Czech title)
See more »
Runtime:
111 min
Country:
Language:
Color:
Color (Metrocolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:
Argentina:13 (DVD rating) | Argentina:18 (original rating) | Australia:M | Australia:A (original rating) | Canada:PA (Manitoba) | Canada:R (Nova Scotia/Ontario) | Canada:14A (video rating) | Finland:K-16 | Germany:16 (re-rating) | Hong Kong:IIB | Iceland:L | Italy:VM14 | Portugal:M/12 | Singapore:NC-16 | Sweden:15 | UK:X (original rating) | UK:15 (re-rating) (2005) | UK:15 (video rating) (1986) (1994) (2004) | USA:Not Rated | West Germany:18 (original rating) (w)

Did You Know?

Trivia:
To loosen things up, David Hemmings decided to start the production with a bang. Literally. "In those days, when the money involved in making a picture was a lot less than it is now, it wasn't an uncommon opening ritual to test the mettle of a director [on a new production] by winding him up a little. In this case, we thought it would be a good wheeze to blow up a beautiful Mulliner Park Ward convertible Rolls-Royce. In one of the earliest shots, my character, Thomas...drives the Rolls away from a dosshouse where he's spent the night, snapping the run-down inmates. Thinking fast and with most of the crew ready to help, we suspended a pair of large steel plates under the engine and loaded them with nuts and bolts and any other oily metal objects we could find that looked like bits of engine. We also wired in under the bonnet a small, harmless bomb that would explode with a loud bang and a dense cloud of smoke." Having carefully planned the prank with the prop master who had a "wicked" sense of humour, Hemmings prepared for the first shot with the cameras rolling. "I drove the car round the corner into view and Props gave me the nod," he recalled. "I pulled a lever that had been rigged up for me under the dashboard and, instantly, a muffled explosion echoed off the walls of the drab brick buildings, immediately followed by a metallic clatter of detritus tumbling onto tarmac and a plume of blue-grey smoke spewing from under the bonnet of the vehicle. I snapped off the motor and came to a screeching halt." "An ominous silence followed the bang and the last rattle of metal. In the mirror I saw what looked like an entire engine scattered along the street behind me. It was so convincing, I almost believed the car had blown up." "Pierre Rouve, the producer, stood rigid at the roadside, as if paralyzed by cardiac arrest," Hemmings continued. "He had bought the car for the production from Jimmy Savile and I guess he was planning to keep it for himself afterwards. Now it looked like a write-off. The Maestro [Antonioni] himself barely winced. With a few tidy strides, he walked up to the sick-looking Roller, beckoning a spark to open the bonnet. He peered inside. Everyone on the set was laughing." "Antonioni slowly straightened his back and looked up at me where I still sat, pale and shamefaced, in the driver's seat. There was a shrewd, angry glint in his eye. 'Che cazzo fai?' he rasped icily. 'Stronzo! You have to learn now, David, this is not a picnic. We are here to work!' He knew perfectly well we'd been trying to wind him up, but now, a little late and with a nasty hollowness in my gut, I realized he was a very serious man indeed, entirely his own master, accountable to no one. And one of the greatest directors I ever worked for."See more »
Goofs:
Continuity: In the park the lens protector is down on the grass between Thomas's feet. He then takes a long step to bend down and pick up the lens protector from a distance.See more »
Quotes:
[first lines]
Mime:Give me your money. Do it.
See more »
Movie Connections:
Referenced in The Amazing Spider-Man 2 (2014)See more »
Soundtrack:
Main Title (Blow-Up)See more »

FAQ

What kind of car was Thomas driving?
See more »
243 out of 305 people found the following review useful.
You always miss something, 4 August 2000
Author: joegerardi from Long Island

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.

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