Blowup (1966)

Director:

Michelangelo Antonioni

Writers:

Michelangelo Antonioni (story)
Julio Cortázar (short story)

Release Date:

18 December 1966 (USA)

Genre:

Drama | Mystery | Thriller

Tagline:

Michelangelo Antonioni's first British film

Plot:

A mod London photographer believes that he has photographed a murder.

Plot Keywords:

Photographer | Murder | Fashion | Mod | Darkroom

Awards:

Nominated for 2 Oscars. Another 7 wins & 4 nominations

Cast

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	...	Herself (as Verushka)
Julian Chagrin	...	Mime
Claude Chagrin	...	Mime

Also Known As:

Blow-Up (Italy) (USA)
Blow Up (UK) (alternative spelling)
Blow Up (Greece) [el]
Blow Up (West Germany) [de]
Blow up - förstoringen (Sweden) [sv]
Blow-Up (Canada: French title) [fr]
Blow-Up (Deseo de una mañana de verano) (Spain) [es]
Blow-Up - Depois Daquele Beijo (Brazil) [pt]
Blow-Up - erään suudelman jälkeen (Finland) [fi]
Blowup - Deseo en una mañana de verano (Argentina) [es]
Cinayeti gördüm (Turkey: Turkish title) [tr]
Ekstaze '67 (West Germany) [de]
História de Um Fotógrafo (Portugal) [pt]
Nagyítás (Hungary) [hu]
Poveæanje (Croatia) [hr]
Powiekszenie (Poland) [pl]
Uvecanje (Serbia) [sr]
Yetzarim (Israel: Hebrew title) [iw]
Zvetsenina (Czechoslovakia: Czech title) [cs]

Runtime:

111 min

Country:

UK | Italy | USA

Language:

English

Color:

Color (Metrocolor)

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono

Certification:

Canada:PA (Manitoba) | Canada:R (Nova Scotia/Ontario) | Argentina:13 | Canada:14A (video rating) | USA:Not Rated (video rating) | Singapore:NC-16 | Hong Kong:IIB | UK:X (original rating) | Australia:M | Finland:K-16 | Italy:VM14 | Portugal:M/12 | Sweden:15 | UK:15 (video rating) (1986) | Germany:16 (re-rating) | West Germany:18 (original rating) (w) | UK:15 (re-rating) (2005) | Iceland:L

Filming Locations:

Chelsea, London, England, UK

Company:

Bridge Films

Trivia:

As a way of bypassing the Production Code (i.e. censors), MGM created "Premiere Productions". This was a dummy company which had no agreement or affiliation with the Production Code and, therefore, did not have to adhere to its standards. MGM did not have to cut the full frontal nudity or other sexually explicit scenes and maintained all rights to the film.

Goofs:

Crew or equipment visible: Just before the Telephone box goof, when the photographer gets out of his car and walks towards the phone box, for a split second a crew member's arm is visible behind the wall on the right of the shot.

Quotes:

[first lines]
Mime: Give me your money. Do it.

Movie Connections:

Featured in Indie Sex: Taboos (2001) (TV)

Soundtrack:

Stroll On

Patience will be rewarded

If you believe that the ending makes the movie, Blowup is for you. The first 30 minutes seem aimless and wandering, but they set up the main character and what is he is to discover about himself, about his occupation and about art in general. Antonioni builds tension (or frustration as you're watching it) not with plot, but with anti-plot. You want to scream at David Hemmings's character to: focus! screw those models! do something! But as the film unfolds you will see why Antonioni chose this actor, this profession and those girls. A wonderful manifesto about the dangers of voyeurism and what it does to a man's sexuality that is 40 years ahead of its time. The symbolism might get heavy handed at times (mimes, a broken guitar), but the sets are so full of creativity and the actors so beautiful (this will give my age away, but Vanessa Redgrave, who knew?) that you forgive Antonioni (he's Italian after all). Hemmings is Hugh Grant before Hugh Grant, but in this role at least, much more interesting. He's highly sexual, but unlike his painter roommate, his chosen art form represses him, all in the name of the shot. And when he finally gets the perfect shot in the perfect light, it's so perfect that someone steals it, and for good reason. Did those events actually take place or just through his camera lens? When the photos are the proof of what you see, then when that proof is taken away, did you see?