Blow-Up (The Criterion Collection) [Blu-ray]

One of the most recognizable, sensational, and iconic films of the 1960's, Michelangelo Antonioni's Blow-Up (1966) is an essential art film of it's generation, and a superior touchstone to "ultra-mod" 60's London in an almost crystallized form. An existential exploration of the successful but jaded (or just plain rude and sadistic) fashion photographer (David Hemming as Thomas in his signature role), his eventful day posing and photographing models, his various interactions with mimes, antique sellers, a pair of vapid young ladies, and the life changing pictures he casually takes in the park that may or may not be a murder which culminates in his feeling that the only way to expose the truth is to blow up the film and piece together the clues. With Vanessa Redgrave as the mysterious woman, and as one of his photo's subjects, standing in way it becomes somewhat more difficult and obsessive than he thought. A truly brilliant arbitrary definition of mystery with a nebulous story that examines the subjective nature of storytelling, film maker Antonioni's common observations on society and the growing disconnect and lack of communication in humanity, objectification and what is valuable in context and -most interesting of all- the more we scrutinize reality, the less we may recognize it and the more we question the results. A perfect metaphor for the cinematic experience. Though a bit boring at first blush (this is a Michelangelo Antonioni film after all) and better upon multiple viewings, when it all clicks this film reveals itself as a deeply thoughtful work of genius with powerful use of color, art, architectural compositions, fashion, and a memorable performance by the Yardbirds, and a jazz score by Herbie Hancock. Anyone who has seen Austin Powers, Mel Brooks movies or more recently Last Night In Soho (2022) and even Brian DePalma's Blow Out (1981) will definitely recognize the undeniable influence of this film and it's importance to cinema. The Criterion Blu Ray looks bold and colorful, and contains a making-of documentary, a featurette on the the director, interviews, and fine booklet including the original short story and a smart essay. Most highly recommended.

I have watched this film a number of times. I’m a great fan of Antonioni films with their aura of existential enigma. This film is great on many levels: its haunting mystery, its 60’s British ambiance, its visuals, its intimations of a whole other level of reality. It is a must have for any film DVD collection. The Criterion edition is great as always.

This 1968 new wave classic was extremely controversial at the time of release. The Catholic Church banned it immediately, and the older generation was scandalized by the (very) brief nudity, and the general amoral behavior of the characters. Set in London of the "Swinging Sixties," it was Antonioni's first English-language film, based on a short story by the Argentinian writer Julio Cortazar. I encourage everyone to watch it, paying attention to the way Antonioni uses everyday sounds, like the wind in the trees, to set the mood. A superb example of the New Wave Cinema of a decade known for its many artistic breakthroughs..

A film that gives you a lovely vignette into London's swinging 60's. And it shows you films do not have to be all action to be exciting. This film slow burning pace is one of its great strengths, as it build the tension throughout the film. I imported this from the US, as so far Criterion UK doesn't seem to value this film enough to release it on our market. Yes, you do need a multi-region player to enjoy this release, but if you have one it's worth it. The film looks, and sounds, stunning. It also is loaded with lots of extras, although the commentary from my UK DVD version is not one of those. That is however easily remedied. There's enough room in the package to accommodate the DVD-disc in a clear plastic sleeve, and the old DVD-sleeve, trimmed a little, can also fit in.

This is a really good film but you must keep it in its proper context. The protagonist is a successful fashion photographer who hates his job. He is sick and tired of the phoniness to this business that he has taken to photographing the real side of life and is putting a book of pictures together with his publisher. He decides that the book has grown a bit dreary and needs a more cheerful line of pictures and notifies the publisher that he may have found them. He photographed a couple in the park deeply in love. Even in the 'real' world it's found. Or is it? From the moment she spots the photographer, photographing them, she is determined to obtain the film. All her efforts fail and only convince him that he missed something. So he examines the pictures on the film more closely until he notices something. What is she looking at? After he has run through another series of photos he spots a hand holding a gun from the bushes. At first he assumes that he photographed an attempted murder and excitedly calls his publisher about a new ending for the book. It's apparent that he's far more interested in the photos for his own end. But when he completes the examination of the film he spots the image of something that could be a body but he can never know for sure unless he returns to the site in the park where it might be. When he finds it he immediately recognizes the man with the woman that morning. When he returns to his studio it's been ransacked and all the pictures gone. Who will ever believe him without them? Much has been made about the pantomime tennis match towards the end of the film. A party of revelers that he meets earlier in the film, stops for a tennis game at an outdoor court but the pantomime game is interrupted when the ball is sent sailing out of the court in the direction of the photographer. The players plead for his assistance which he provides when he throws the ball back. In the end he would rather be a part of their phony world than the real world that he has experienced over the past day. Maybe it wasn't so awful as he thought. Blow-Up isn't a detective film by any stretch of the imagination. Good versus evil isn't found in this film. Heroes are also missing. It strikes me far more as a film of discovery and escape from a world that he wants no part of. It's certainly a pensive film and Antonioni's cinematography was terrific. It's not heavy on dialogue. Maybe that's why it commands our attention. We must look and draw our own conclusions.

The first thing I did was compare the new Criterion blu-ray of Blow-Up with the Warners DVD. To be fair, the older DVD has always looked good, but the blu-ray, made from a 4K scan, is better for detail and most impressive in vibrancy of color. Color is an essential component of this film and we see it to great advantage now. The uncompressed soundtrack is a joy to hear, particularly for the quiet scenes in the park.

The Criterion blu-ray is a must-have for fans of Blow-Up when it comes to supplements. The older DVD has a commentary that was a huge letdown at the time of its release and a new one would have been more than welcome. Even more than one commentary, approaching the film from different vantage points would have been nice. But we can't complain when the the other supplements are this good. Two short extras-- one about photography/cinematography and the other about Antonioni and modernism are interesting, the latter in particular. There are actor interviews as well. A short one with Jane Birkin, two with David Hemmings and one with Vanessa Redgrave. The second one with Hemmings (from 1977) is very informative about the actor, while the Redgrave interview, lasting 45 min, is fascinating with her observations about Antonioni, film making, and Blow-Up itself. There is also a longer documentary about the making of the film and it's something that can be watched over and over, like Blow-Up itself. The film's original trailer and teaser are included and they show how the film was marketed as something other than what it really is. A winner all around.

I thought this was an exceptional compilation. The film is one of the top ten ever made and this doc. is worthy of explaining why.

The collected clips and interviews are inspiring. Speaking with Vanessa Redgrave the sycophantic interviewer hardly lets the great actress speak. Such adulation becoming praise in a backhanded way. Other interviews bring the focus of the film into perspective. Antonioni is a genius and his film speaks for itself. It, the film and he, the great Italian Director is an intense, painterly choreographer say his actors in the film.

If you are either an actor or a film student, you cannot go wrong with this expenditure.

Highly recommended.

I streamed the old Warner transfer from Prime several years ago and was disappointed with the picture quality. This Criterion Blu-ray from a new 4K scan is a big improvement. The extras are superb but missing an interview with Herbie Hancock regarding the score. Perhaps Criterion are holding that back for a 4K release?

Muy buena película

Couldn't get it to play on any of my Blu-Ray players.

Sometimes a stranger sees a country more clearly than its inhabitants, and I feel this is the case with Antonioni’s film. As someone who was there, it seems to me to capture the essence of England in 1966 better than any other, apart from Yellow Submarine. The director approached this country rather like an anthropologist making contact with a strange tribe, to the extent that, in order to give an accurate impression of the central character, the photographer, played by David Hemmings, he asked several real photographers to fill in a questionnaire.

The other aspect of the film that seems to have been influenced by this attitude is the photography of exteriors, particularly the park which plays a major role in the film. In contrast to other directors, who tend to stop filming when the sun disappears, Antonioni only filmed when there when it was cloudy, managing to achieve a uniform appearance, even over several days shooting. The absence of any distraction gives these scenes a particular, almost hypnotic, intensity.

A feature of this period that he captures better than other films is the existence of two Englands, side by side. The opening scene where Hemmings leaves a doss-house, and later one in a shop, with its unhelpful assistant, contrast with the interiors in the studio, and the later drug fuelled party and concert with the Yardbirds.

The plot centres around Hemmings visits to a park, where he notices a young woman and an older man embracing. It is only when he processes the films he shot there, that he notices what seems to be someone lurking in some bushes. When he enlarges some of these shots (the blow ups of the title) he realises the figure seems to be holding a gun.

The girl in the park, played by Vanessa Redgrave, arrives at the studio, and asks him to give her the film, so he fobs her off with another cassette. He then makes even more detailed enlargements resulting in a shocking discovery. Being Antonioni, the director avoids a neat resolution, and the film ends with an apparently irrelevant scene in the park, as a sort of cinematic shaggy dog story.

Apart from Sarah Miles, as the wife of his artist neighbour, played by John Castle, Peter Bowles, as his publisher, Verushka as a model and Jane Birkin as a would be one, none of the others who appear are well known. The other models were real life models and one of them, Jill Kennington, talks about her experiences in making the film in the best extra, a feature originally made for Sky.

Another fascinating contribution to this is from Piers Haggard. He is listed in the credits as dialogue assistant, but apparently acted as an essential link between the director, and the cast and crew. He was able to communicate in French which fortunately both knew. The director provided the story, and in collaboration with Tonino Guerra the screenplay, but dialogue was contributed by the playwright Edward Bond.

The park that plays a central role in the film (Maryon Park in Charlton, South East London) was suggested to Antonioni by the art director, Assheton Gorton and looks much the same now as it did then. The only changes made for the film were the addition of fencing, and a specially made neon sign to provide lighting for the night scene. Don McCullin, one of the photographers on whom the David Hemmings character was based, provided the photos Hemmings was seen showing to Peter Bowles and the blow ups that play a crucial part in the story.

As to be expected from Criterion there is a newly restored transfer from 4k master, and many extras, plus a book with accounts of the films shooting, the questionnaire for photographers, and the short story on which the film is loosely based.

Great movie.

I found the remastering and accompanying booklet to be one of the most breathtaking I had experienced. The definition, colour balance,and the neutral colour on the grey-scale in the Studio scenes, together with the compulsive Darkroom detailing in the prints to make this version one to treasure. I am including this in a new book that I am writing. It makes the higher price for this version worth every penny - it makes the impact greater than my memories of the original film when first shown in the cinema in David Hemmings prime