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Blow-Up (1966)

tomatometer

63

Average Rating: 6.7/10
Critic Reviews: 8
Fresh: 5 | Rotten: 3

No consensus yet.

audience

85

liked it
Average Rating: 3.9/5
User Ratings: 27,881

My Rating

Movie Info

Italian director Michelangelo Antonioni's first English-language production was also his only box office hit, widely considered one of the seminal films of the 1960s. Thomas (David Hemmings) is a nihilistic, wealthy fashion photographer in mod "Swinging London." Filled with ennui, bored with his "fab" but oddly-lifeless existence of casual sex and drug use, Thomas comes alive when he wanders through a park, stops to take pictures of a couple embracing, and upon developing the images, believes

Feb 17, 2004

MGM

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All Critics (40) | Top Critics (8) | Fresh (34) | Rotten (6) | DVD (9)

A prize '60s artifact, Michelangelo Antonioni's what-is-truth? meditation on Swinging London is a movie to appreciate -- if not ponder.

February 4, 2013 Full Review Source: Village Voice
Village Voice
Top Critic IconTop Critic

In Blow-Up [Antonioni] smothers this conflict in the kind of pompous platitudes the press loves to designate as proper to "mature," "adult," "sober" art.

February 4, 2013 Full Review Source: The New Republic
The New Republic
Top Critic IconTop Critic

This is so ravishing to look at (the colors all seem newly minted) and pleasurable to follow (the enigmas are usually more teasing than worrying) that you're likely to excuse the metaphysical pretensions.

July 31, 2007 Full Review Source: Chicago Reader
Chicago Reader
Top Critic IconTop Critic

There may be some meaning, some commentary about life being a game, beyond what remains locked in the mind of film's creator, Italian director-writer Michelangelo Antonioni. But it is doubtful that the general public will get the 'message' of this film.

July 31, 2007 Full Review Source: Variety | Comments (3)
Variety
Top Critic IconTop Critic

As often with Antonioni, a film riddled with moments of brilliance and scuppered by infuriating pretensions.

June 24, 2006 Full Review Source: Time Out
Time Out
Top Critic IconTop Critic

The natural world is arrayed against the artificial scene; conscience is deployed against convention. If you've never seen Blow-Up, see it now, if only to see what part of the world was like 40 years ago.

June 7, 2006 Full Review Source: New York Observer
New York Observer
Top Critic IconTop Critic

Inspiring everyone from Francis Ford Coppola to Mike Myers, Michelangelo Antonioni's arty thriller remains an absorbing, eerie enigma.

February 4, 2013 Full Review Source: Total Film
Total Film

Despite its thriller hook, Blow-Up is less a mystery than a portrait of swinging alienation.

February 4, 2013 Full Review Source: Empire Magazine
Empire Magazine

Antonioni's first English-speaking film is a seminal work of the 1960s, reflecting swinging London as well as dealing with voyeurism, artists' social responsbilities and other relevant issues.

March 29, 2011 Full Review Source: EmanuelLevy.Com
EmanuelLevy.Com

O rigor estético aqui exibido por Antonioni, somado à excepcional montagem de Frank Clarke, à bela fotografia de Carlo Di Palma e à atuação inspirada de Hemming, garante ao filme um vigor e um charme que só crescem com o tempo.

April 10, 2009
Cinema em Cena

Still thought provoking, fascinating film making.

July 13, 2007
Video-Reviewmaster.com

Inventive, richly styled film, a visual classic.

August 31, 2006 Full Review Source: Classic Film and Television
Classic Film and Television

Pop-culture icon that has become a cult classic.

August 29, 2006 Full Review Source: TV Guide's Movie Guide
TV Guide's Movie Guide

Blowup forcefully reminds us that even the latest technologies can mislead or betray us.

May 20, 2006 Full Review Source: Senses of Cinema
Senses of Cinema

A fascinating take on the mod lifestyle.

June 13, 2005 Full Review Source: Ozus' World Movie Reviews
Ozus' World Movie Reviews

Speaks to the inescapability of modern man's emotional and spiritual alienation.

May 3, 2005 Full Review Source: Lessons of Darkness
Lessons of Darkness

Peter Brunette's detailed and entertaining commentary refreshingly acknowledges that, at many points, 'Things don't add up in this movie.'

April 26, 2004 Full Review Source: Film-Forward.com
Film-Forward.com

The ennui stretches into the very story itself.

March 8, 2004 Full Review Source: Combustible Celluloid
Combustible Celluloid

Antonioni's chic study in ambiguity calls into question the notion of photographic truth, and indeed reality itself.

March 5, 2004 Full Review Source: Boulder Weekly

Audience Reviews for Blow-Up

There is this one camera sequence that I love. Towards the end of the film the David Hemmings character goes back to the park to find the body gone. From his knees he looks up to the rustling leaves and the camera cuts to a shot of the leaves, apparently from his perspective but then the camera slowly pans down to Hemmings now standing in completely different spot. Gives me the willies every time.
July 31, 2007
brooklynspo

Super Reviewer

A well to-do artist finds that being well to-do doesn't forego the suffering latent in the job description: there are endless streams of pretty young things to despoil("they don't leave me alone!"), the unruly lower classes ("they can't get anything right!"), and maybe there was that murder he filmed in the park yesterday ... Antonioni musings on the act of artistic creation are similar to Frankenstein wherein what was formed might come back to kill you. The cast is very good, and the filming astounding for its time period. The 60's come off looking better than perhaps in any other film. Swinging London before Austin Powers laffed at it.
December 6, 2012
ApeneckFletcher

Super Reviewer

A lot of people say that this is Michelangelo Antonioni's best movie and also far superior to Brian DePalma's semi re-imagining. I would have to say that I disagree severely on both accounts. While this has an interesting basic concept and some of those great longshots that Antonioni is famous for, the overall execution and plot doesn't really go anywhere and the characters are anything but interesting to watch. If you love sleazy/cocky British photographers, then you'd be in heaven. However, I found no interest in his conflict. I would say that by far my favorite part about the movie is the fact that you see the attempted murder without even knowing you do, that is pretty clever.
Now Brian DePalma took this idea and perfected it, while also putting his spin on it. Blow Out is by far the better work here in just about every way possible. Better acting and characters, imagery and shot technique that is completely revolutionary and memorable to say the least, but most importantly it has one of the greatest plot structures of any thriller. This movie is all over the place and ultimately blocks itself in.
March 22, 2011
ythelastman89

Super Reviewer

Antonioni's Blow-Up was the biggest hit of the Italian director's career, the superficial elements of the fashion world, Swinging London and orgies on purple paper ensuring its commercial success.

Models such as Veruschka (who appears in the film), Twiggy and fashion photographers at the time have complained about its unrealistic depiction of the industry and claimed that its central character, Thomas (played by the late David Hemmings) was clearly based on David Bailey.

To look at Blow-Up as an analysis of the fashion business in the Sixties is to misunderstand the film's intentions. In any case, when watching this film it may be difficult to tell what its all about if you're unfamiliar with Antonioni's films but it obviously has little to do with the fashion world which is merely the setting for the story and nothing more.

Antonioni made the clearest statement of his motivation as a filmmaker at the end of Beyond the Clouds when he talked about his belief that reality is unattainable as it is submerged by layers of images which are only versions of reality.

This is a rather pretentious way of saying that everyone perceives reality in their own way and ultimately see only what they want to see.

With this philosophy in mind, Blow-Up is probably Antonioni's most personal film.

Thomas' hollow, self-obsessed world is shattered when he discovers that he may have photographed a murder when casually taking pictures in a park. He encounters a mysterious woman, Jane (Vanessa Redgrave) who demands he hand over the film and when he refuses she appears at his studio, although Thomas never told her his address.

When the evidence disappears shortly afterwards, Blow-Up seems to deal in riddles that have no solution. Redgrave re-appears and then vanishes before the photographer's eyes, Thomas returns to the park without his camera and sees the body. The film concludes with Thomas, having discovered the body has disappeared, watching a group of mimes playing tennis without a ball or rackets in the park where the murder may have taken place.

It is only in the final scene of the film where the riddle is solved. Thomas throws the imaginary ball back into the court and watches the game resume. The look of realisation on his face is all too apparent as the game CAN BE HEARD taking place out of shot.

There is a ball, there are rackets and this is a real game of tennis. What we have seen up until this point is the photographer's perception of reality: the murder, the mysterious woman in the park, the photographic evidence and the body.

The following exchange between Hemmings and Redgrave is the key to the film:

Thomas: Don't let's spoil everything, we've only just met.

Jane: No, we haven't met. You've never seen me.
February 10, 2011
matertenebraum

Super Reviewer

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