Blowup (also styledBlow-Up) is a 1966psychologicalmystery^[3] film directed byMichelangelo Antonioni, co-written by Antonioni,Tonino Guerra andEdward Bond^[4] and produced byCarlo Ponti. It is Antonioni's first entirely English-language film and starsDavid Hemmings,Vanessa Redgrave andSarah Miles. ModelVeruschka von Lehndorff is featured as herself, andJane Birkin makes her first film appearance. The film's non-diegetic music wasscored by American jazz pianistHerbie Hancock, and the English rock groupThe Yardbirds are seen performing "Stroll On". The cinematographer wasCarlo di Palma.

Blowup
Directed by	Michelangelo Antonioni
Screenplay by	Michelangelo Antonioni Tonino Guerra
Dialogue by	Edward Bond
Story by	Michelangelo Antonioni
Based on	"Las babas del diablo" (1959 short story) byJulio Cortázar
Produced by	Carlo Ponti
Starring	Vanessa Redgrave David Hemmings Sarah Miles
Cinematography	Carlo Di Palma
Edited by	Frank Clarke
Music by	Herbie Hancock The Yardbirds
Production companies	Metro-Goldwyn-Mayer Carlo Ponti Productions Bridge Films
Distributed by	Premier Productions (UK) Metro-Goldwyn-Mayer (worldwide)
Release dates	18 December 1966 (1966-12-18) (United States) 16 March 1967 (1967-03-16) (United Kingdom) 27 September 1967 (1967-9-27) (Italy)
Running time	111 minutes
Countries	United Kingdom[1] Italy[1]
Language	English
Budget	$1.8 million[2]
Box office	$20 million[2]

The plot was inspired by Argentine-French writerJulio Cortázar's 1959 short story "Las babas del diablo", which was later retitled "Blow-Up" to tie in with the film.^[5] Set within the contemporarymod subculture ofSwinging London, the film follows a fashion photographer (Hemmings) who believes he has unwittingly captured a murder on film.^[6]

In the main competition of the1967 Cannes Film Festival,Blowup won thePalme d'Or, the festival's highest honour. The American release of thecounterculture-era film^[7] with itsexplicit sexual content defied Hollywood'sProduction Code, and its subsequent critical and commercial success influenced the abandonment of the code in 1968 in favour of theMPAA film rating system.^[8] At the39th Academy Awards, the film was nominated forBest Director andBest Original Screenplay. The film was also nominated for threeBAFTA Awards, includingOutstanding British Film.

Blowup has influenced subsequent films includingFrancis Ford Coppola'sThe Conversation (1974) andBrian De Palma'sBlow Out (1981).^[9] In 2012, it was ranked No. 144 in theSight and Sound critics' poll of the greatest films of all time and No. 59 in the directors' poll.^[10]

After spending the night at adoss house, where he has taken pictures for a book of art photographs, photographer Thomas is late for aphoto shoot with modelVeruschka at his studio, which in turn makes him late for a shoot with other models later in the morning. He grows bored and frustrated with the models and walks off, leaving them and the production staff in the lurch. As he leaves the studio, two teenage aspiring models ask to speak to him, but he brushes them off and drives off to visit an antique shop nearMaryon Park.

Wandering into the park, Thomas furtively takes photographs of two lovers. The woman, Jane, is furious at being photographed and pursues Thomas, demanding his film and attempting to take his camera. He refuses, and continues to photograph her as she runs away. Thomas then meets his agent Ron for lunch and notices a man following him and looking into his car. Thomas returns to his studio to find Jane, who asks desperately for the film. They have a conversation and flirt, but he deliberately hands her a different roll of film. She, in turn, gives him a false telephone number.

Thomas makes severalblow-ups of the film of Jane and her lover, which reveal Jane appearing to look worriedly at a person lurking in the trees with a pistol. Thomas excitedly calls Ron, claiming that his impromptu photo session may have saved a man's life. He is then disturbed by a knock on the door from the teenage girls. They have a sexual encounter in the studio before he falls asleep. After awakening, he learns that the girls hope he will photograph them, but is distracted by a detail in one of his blow-ups. He tells them to leave, saying, "Tomorrow! Tomorrow!"

Thomas examines a blurred figure on the ground under a bush in the blow-up, which he suspects is the dead body of a man shot by the gunman. As evening falls, he goes back to the park without his camera and finds the body, but is scared off by the sound of a twig breaking. He returns to his studio to find it ransacked, with all of the negatives and prints gone except for one very grainy blow-up of what is possibly the body.

After driving into town, he sees Jane and follows her into theRicky-Tick club, wherethe Yardbirds are performing the song "Stroll On". A buzzing noise in guitaristJeff Beck's amplifier angers him so much that he smashes his guitar and throws its neck into the crowd. The crowd, previously disengaged, fights over the guitar neck. Thomas grabs the neck and runs out of the club, with much of the crowd chasing after him; once he is away from the crowd, he tosses the neck away and walks on. A passer-by picks up the neck and examines it, but also discards it.

At a drug-drenched party in a house on the Thames, Thomas asks acannabis-addled Ron to come to the park as a witness, but cannot convince him of what has happened. Instead, Thomas joins the party at Ron's insistence and wakes up in the house at sunrise. He then returns to the park alone, only to find that the body is gone.

Thomas watches amime troupe perform a mock-tennis match at the park, and picks up the imaginary ball and throws it back to the two players when asked. As he watches the mimes continue to play, the sound of the ball being played is heard. His image then fades away, leaving only the grass.

Uncredited members of the cast includeTsai Chin as Thomas's receptionist,Susan Brodrick as theantiquarian,Ronan O'Casey as Jane’s lover/victim in park.Jill Kennington,Peggy Moffitt andDonyale Luna appear as Thomas’ models.The Yardbirds (Jeff Beck,Jimmy Page,Chris Dreja,Jim McCarty, andKeith Relf) appear as themselves.

Piers Gough andJanet Street-Porter appear as uncreditedextras in the nightclub sequence.Julio Cortázar, the author of the source short story, makes acameo appearance as a homeless man. Real-life photographer Reg Wilkins, who was one of the inspirations for Thomas’ character, appears as his assistant.^[11]

Antonioni's screenplay forBlow-Up is a "thriller-suspense" story revolving around the efforts of a young and successful fashion photographer in his struggle to determine whether a series of photographs he takes at a public park contain evidence of a murder. As Thomas persists, his quest leads him initially to question his technical mastery over the "hidden truth" recorded by his camera, then toward a confrontation with the realities of his life of "material advantages, gained at the expense of ideals". Finally, he questions the reality of his own existence.^[12] Film historian Gordon Gow identifies the object in Antonioni's use of suspense:

In the case of Blow-Up, the mystery [i.e. whether a murder took place] is relevant to the film, but the solution of it is not. Indeed, the absence of a solution is part of the point: life's uncertainty ... the true suspense resides not in the mystery of the photographic blow-ups, but in the instability of Thomas himself.^[13]

In an interview at the time of the film's release, Antonioni stated that the film "is not about man's relationship with man, it is about man's relationship with reality".^[14] According to Gow, "a mystery without a solution is instrumental to the theme of disorientation" which is sustained until the final moments of the film, in which Thomas fails to resolve the contradictions and ambiguities that arise from his investigations and his own life.^[15][16] Thomas' fate is known and the audience's suspense is resolved, but Antonioni leaves the meaning of the film open to speculation.^[17]

Gow considers two interpretations for the ending:

SinceBlow-Up is not resolved happily, but rather in a total surrender to fantasy and consequently to oblivion, we can take it either as an exhortation to come to terms with reality, or as a cautionary tale in which the pursuit of material gain is a threat to humanity.^[18]

The plot ofBlow-Up was inspired by Argentine-French writerJulio Cortázar's 1959 short story "Las babas del diablo", collected inEnd of the Game and Other Stories, which in turn was based on a story told to Cortázar by photographerSergio Larraín.^[19] The short story was subsequently retitled "Blow-Up" to connect it with the film.^[5] The life ofSwinging London photographerDavid Bailey was also an influence on the plot.^[20]

Several people were offered the role of the protagonist, includingSean Connery (who declined when Antonioni refused to show him the script), David Bailey, andTerence Stamp, who was replaced shortly before filming began after Antonioni saw David Hemmings in a stage production ofDylan Thomas'Adventures in the Skin Trade.^[21]

Jane Birkin made her film debut as the blond girl.^[22]

Most ofBlow-Up was shot on location throughout London. The film's opening scene was filmed on the Plaza ofThe Economist Building inSt. James's Street,Westminster, a project by 'New Brutalist' architectsAlison and Peter Smithson that was constructed between 1959 and 1964.^[23] The park scenes were filmed atMaryon Park inCharlton; the park has changed little since the film was shot, although Antonioni painted the grass green to meet his requirements.^[24][25] PhotographerJohn Cowan leased his studio at 39 Princes Place inNotting Hill to Antonioni for much of the interior and exterior filming, and Cowan's own photographic murals are featured in the film.^{[26][27][self-published source?]} Other locations includedHeddon Street^[28] (where the cover ofDavid Bowie's albumThe Rise and Fall of Ziggy Stardust and the Spiders from Mars would later be photographed)^[29] andCheyne Walk inChelsea.^{[citation needed]}

The scene in which the Yardbirds perform "Stroll On" – a modified version of "Train Kept A-Rollin'" with new lyrics – was filmed in a replica of theRicky-Tick club atElstree Studios inBorehamwood,Hertfordshire from 12 to 14 October 1966.^[30]Janet Street-Porter appears in the scene as an extra.^{[citation needed]}

ActorRonan O'Casey claimed that the film's mysterious nature is the product of an "unfinished" production. In a 1999 letter toRoger Ebert, O'Casey wrote that scenes that would have "depict[ed] the planning of the murder and its aftermath – scenes with Vanessa, Sarah Miles, and Jeremy Glover, Vanessa's new young lover who plots with her to murder me – were never shot because the film went seriously over budget."^[31] O'Casey had previously told this story toDer Spiegel in 1967, where he stated thatDyson Lovell played the part of the murderous lover.^[32] Two scenes appear to give credence to this: first when Lovell is seen apparently tampering with Thomas' car, and later when he and Jane are seen following Thomas in aRover 2000.^[33]

Thomas drives aRolls-Royce Silver Cloud III 'Chinese Eye' Mulliner Park Ward Drophead Coupé owned by DJ and television presenterJimmy Savile. The car was originally painted white, then painted black by the production. Only about one hundred coach built Silver Clouds IIIs were made with the unique slanted headlights, and it remains an iconic element of the film.^[34][35]

Blow-Up premiered at the Coronet Theater onThird Avenue in New York City on 18 December 1966.^[36]

MGM did not gain approval for the film under theMPAA'sProduction Code in the United States.^[6] The film was condemned by theNational Legion of Decency. MGM released the film through a subsidiary distributor,Premier Productions, and it was shown widely in North American cinemas. The film's critical and commercial success played a major role in the abolition of the Production Code and its replacement with theMPAA rating system shortly thereafter.^[8]

Film writerRichard Corliss stated in 2007 that the film grossed $20 million (about $139 million in 2023) on a $1.8 million budget and "helped liberate Hollywood from its puritanical prurience" in the process.^[2]

The film earned $5.9 million (about $41.2 million in 2023) in the United States and Canada in 1967.^[37]

CriticAndrew Sarris called the film "a mod masterpiece". InPlayboy magazine, film criticArthur Knight wrote thatBlow-Up would come to be considered "as important and seminal a film asCitizen Kane,Open City, andHiroshima, Mon Amour – perhaps even more so".^[38]Time magazine called the film a "far-out, uptight and vibrantly exciting picture" that represented a "screeching change of creative direction" for Antonioni; the magazine predicted it would "undoubtedly be by far the most popular movie Antonioni has ever made".^[39]

Bosley Crowther, film critic ofThe New York Times, called it a "fascinating picture",^[6] but expressed reservations, describing the "usual Antonioni passages of seemingly endless wanderings" as "redundant and long"; nevertheless, he calledBlow-Up a "stunning picture – beautifully built up with glowing images and color compositions that get us into the feelings of our man and into the characteristics of themod world in which he dwells".^[6] Even directorIngmar Bergman, who generally disliked Antonioni's work, called the film a masterpiece.^[40]

Anthony Quinn, writing forThe Guardian in 2017 for the film's fiftieth anniversary, describedBlow-Up as "a picture about perception and ambiguity", suggesting an association between elements of the film and theZapruder film capturing the 1963assassination of John F. Kennedy.^[14]

According to author Thomas Beltzer, the film explores the "inherently alienating" qualities of mass media, where "the camera has turned us into passive voyeurs, programmable for predictable responses, ultimately helpless and even inhumanly dead".^[5] Bilge Eberi ofHouston Press notes the contrast between "the sinewy movements of the girls, their psychedelic jumpsuits and slinky dresses and multicolored minis", and "the blurred, frozen, inchoate unknowability of the death contained within [Thomas'] image", which "is a glimpse of the eternal and elemental ... that completely reorders, or rather disorders, Thomas's world. As an artist, he can't capture it or understand it or do anything with it. As an individual, he can't possess it or consume it."^[9]

Roger Ebert described the film as "a hypnotic conjuring act, in which a character is awakened briefly from a deep sleep of bored alienation and then drifts away again. This is the arc of the film. Not 'Swinging London.' Not existential mystery. Not the parallels between what Hemmings does with his photos and what Antonioni does with Hemmings. But simply the observations that we are happy when we are doing what we do well, and unhappy seeking pleasure elsewhere. I imagine Antonioni was happy when he was making this film."^[42]

In his commentary for the DVD edition of the film,Peter Brunette connects it to theexistentialist tenet that actions and experiences have no inherent meaning, but are given a meaning within a particular context. According to Brunette, this is demonstrated by the scene in which Thomas takes Jeff Beck's guitar neck out onto the street: "He's rescued the object, this intensely meaningful object. Yet, out of the context, it's just a broken piece of a guitar [...] the important point here being that meaning, and the construction we put on reality, is always a group social function. And it's contextual."^[43]

On thereview aggregator websiteRotten Tomatoes, the film holds an 87% approval rating based on 54 reviews from film critics, with an average rating of 8.3/10.^[44] OnMetacritic, the film has a weighted average score of 82 out of 100, based on reviews from 15 critics.^[45]

American directorMartin Scorsese includedBlow-Up on his list of "39 Essential Foreign Films for a Young Filmmaker".^[46]

Films such asThe Conversation,Deep Red,Blow Out,Jaane Bhi Do Yaaro andEnemy of the State have been inspired byBlow-Up.^[9]

Warner Home Video released aRegion 1 DVD of the film in 2004.^[54] In 2017, theCriterion Collection issued the film onBlu-ray and DVD, featuring a4K remaster from the original camera negatives, in addition to new bonus materials.^[55]

• Blow-Up (soundtrack)
• 1966 in film
• List of cult films
• List of films featuring surveillance
• Mod (subculture)
• Swinging Sixties
• BFI Top 100 British films

Informational notes

1. ^ Several people known in 1966 are in the film; others became famous later. The most widely noted cameo was byThe Yardbirds who perform "Stroll On" in the last third.Michelangelo Antonioni first askedEric Burdon to play that scene, but he turned it down. In an interviewSterling Morrison ofThe Velvet Underground claimed that Antonioni had also asked the Velvet Underground to appear in the film, and the band members were "more than willing", but due to the expense of flying the Velvets over from the US, Antonioni instead decided on an English group.^[56] AsKeith Relf sings,Jimmy Page andJeff Beck play to either side along withChris Dreja andJim McCarty.
2. ^ AfterJeff Beck's guitar amplifier fails, he bashes his guitar to bits asThe Who did at the time.Michelangelo Antonioni had wantedThe Who inBlow-up as he was fascinated byPete Townshend'sguitar-smashing routine.^[57]
3. ^Steve Howe ofTomorrow recalled and wrote "We went on the set and started preparing for thatguitar-smashing scene in the club. They even went as far as making up a bunch ofGibson 175 replicas and then we got dropped forThe Yardbirds who were a bigger name. That's why you seeJeff Beck smashing my guitar rather than his!"^[58]Michelangelo Antonioni also considered usingThe Velvet Underground (signed at the time to a division ofMGM Records) in the nightclub scene, but according to guitaristSterling Morrison, "the expense of bringing the whole entourage to England proved too much for him".^[59]
4. ^Janet Street-Porter can be seen dancing in a silver coat and red and yellow stripedCarnaby Street trousers during the scene inside the nightclub.^[60] A pre-Monty PythonMichael Palin can also be seen in the motionless crowd watchingThe Yardbirds.^[61]

Citations

Bibliography

• Brunette, Peter (2005). DVD Audio Commentary (Iconic Films).
• Gow, Gordon. 1968.Suspense in the Cinema. Castle Books, New York. The Tanvity Press and A. S. Barnes & Co. Inc. Library of Congress Catalog Card No: 68-15196.
• Hemmings, David (2004).Blow-Up… and Other Exaggerations – The Autobiography of David Hemmings.Robson Books (London).ISBN 978-1-861-05789-1.
• Huss, Roy, ed. (1971).Focus on Blow-Up. Film Focus. New Jersey: Prentice-Hall. p. 171.ISBN 978-0-13-077776-8. Includes a translation of Cortázar's original short story.

• Blowup atIMDb  
• Blowup atRotten Tomatoes 
• Blowup at theBritish Film Institute^{[better source needed]}
• Blowup at theTCM Movie Database 
• Where Did They Film That? – film entry
• Peter Bowles on making ofBlow-Up
• Blowup Then & Now website
• On the set of Antonioni's Blow-Up and how this film about a '60s fashion photographer compared to the real thing.
• Blow-Up: In the Details – an essay byDavid Forgacs atThe Criterion Collection
• Blow-Up Comprehensive collection of articles, production information, bibliography, and photo gallery, atNeugraphic.com.
• Kubrick's A Clockwork Orange pays homage to Antonioni onYouTube