Blow-Up, released in America in 1966, marked a departure. It was filmed in English and in color, and, it aspired to something like a plot: a photographer in swinging London (David Hemmings) uncovers evidence of a possible murder in the background of a series of pictures he's taken of a couple in a park. (De Palma's 1981 Blow Out is an obvious homage: A sound man records evidence of a murder on tape while recording ambient sounds.) Initially he's intrigued, since this event carries so much more gravity than the activities of his daily life, such as photographing models, driving around in a sports car, and off-handedly buying expensive antiques. But as the clues dry up, his interest does too. And having lost interest (after most of the prints are stolen), he simply throws the last print away.
Continue reading: Blow-Up Review
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