Review of Blow-Up (1966) by Sharon K — 10 Apr 2008

A film truly defined by and at the same moment a summation of its time, Antonioni's Blow-Up remains one of the seminal films of the 60's. Acerbic, unsympathetic and self-absorbed fashion photographer David Hemmings (looking like Terence Stamp and sounding like Richard Burton) uses his camera lens as an extension of himself - the sexual metaphor is made obvious early on - and with his surrogate organ ends up penetrating the veil of what may have been a murder plot involving beautiful but anxious Vanessa Redgrave.

But was it truly a murder? The enigmatic plot, contrived as it is, serves as an fascinating treatise on how perception is informed and reached by consensus, if it is reached at all. Through it all, Hemmings' detached and bemused protagonist weaves in and out of Antonioni's vision of Swinging London, complete with vacuous magazine models, recreational drug use, and the Yardbirds smashing their instruments not so much in protest as in boredom.

Classic tennis match finale is one of the best slient sequences ever put on film.