(thanks, Cinedelica TV!) 

“Nothing like a little disaster for sorting things out.”

Some people hate Michelangelo Antonioni’s groundbreaking 1966 film Blow-Up (or Blowup depending on how you prefer it spelled, I go with the poster myself) with a passion reserved for cruel dictators and people who drive vans full of puppies and baby rabbits into lakes. Me, I’ll admit to disliking and being frustrated with the film when I saw it as a not quite ready to see something so heady teenager thinking it was going to be something entirely different. However, as years have passed and I’ve seen it a few more times, I’ve come to truly appreciate the film for the things it nails while realizing most people who despise the film tend to over-analyze it to the point of making themselves confused as to exactly what the movie is about.

For all its swingin’ London scenery, excellent use of that great Herbie Hancock score, skinny exotic models posing for a seriously unlikable main character and seemingly “boring” stretches where seemingly, nothing important happens for some viewers looking for a proper narrative before something important DOES happen (that’s picked upon as important to those plot followers, naturally). The funny thing is, any attempts as locking in that golden “Aha!” moment are interrupted by a few distractions that intentionally take focus away from things unless you’ve clued into what’s actually going on here. With all that, Blow-Up is actually a surprisingly minimalist and easy to understand film, albeit an experience that demands your complete attention. Well, once you cut through the arty fat and get to the hidden in plain sight meat on the bone dangling in front of you, it’s a more fulfilling viewing experience. On the other hand, it’s also a film that while open to a few interpretations, still revolves around a central theme some continue to overlook. Continue reading →