Blow Up

Thomas is a famous fashion photographer living in London. He spends his time with beautiful models in his studio, taking photographs for well-known magazines, and sometimes touring London... In one of these strolls on which he sets off with camera in hand he meets a couple making advances to each other in the park and he photographs them. Just then, the woman becomes aware of the situation. Thomas puts off the woman who obviously panics and wants the negative, and develops his film. He makes copies of the pictures at the park and starts to scrutinize them. Then he catches a hardly visible detail. When he aggrandizes that section he becomes even more suspicious. Has he perhaps documented a murder in his photograph? He aggrandizes the detail of the detail, then its detail. However as he gets closer to the truth, the truth gets farther away from him. The thing he took to be a clue becomes more and more indistinct in the grains of the aggrandized photograph. We watch the ensuing incidents behind a unique screen of thrill and mystery. Antonioni who is perhaps the director who most perfectly answers the description of auteur with his films dealing with the splits of formal narration possibilities in cinema with this film. Blow Up, a slack adaptation of Cortazar's story Las babas del Diablo, is a story telling how untruthful the things that we take to be the truth are, to tell the truth; that is, a story on absolute truth that does not allow itself to be captured easily, exactly like the films of Antonioni. It further is a film that resists not to provide the expectancies of the audience from traditional thrillers, and insists to drag them to other bays. Blow-up also has the specialty of being its directors first film in English. Antonioni getting a chance to work with famous actors of the 60's, utilities the London of those years as a hidden character of his film. When approached from another angle, the situation of the audience as regards Blow-up (as any other Antonioni film) which permits a different reading through its insinuations on the sea of photograohes encircling us, and the camera itself as an aggressive, intervening instrument, can be somewhat likened to Thomas’ situation. While watching the film, you can follow a small detail and get lost in the land of images, complete any missing parts in your mind, and create many ideas. However these rae always doomed to be assumptions far from certainty, with loose ends. Just like the final tennis scene in Blow-Up. Necati Sönmez

Edward Bond (Julio Cortazar'ın bir öyküsünden)
Michelangelo Antonioni
Tonino Guerra

Carlo di Palma

Frank Clarke

Metro Goldwyn Mayer Pictures Co.

David Hemmings
Gillian Hills
Jane Birkin
John Castle
Peter Bowles
Sarah Miles
Vanessa Redgrave

Herbie Hancock
The Yardbirds

Cannes 20th Year Grand Prize 1967

4th Festival on Wheels