Film and TV
Underappreciated: Blowup
Antonioni toys with his audience in his classic film of a photographer about town in London during the swinging, decadent 60s.
“Don't let's spoil everything, we've only just met.” “No, we haven't met. You've never seen me.”
So, as a result of some of the comments left on previous entries, a caveat should be added about the tag ‘underappreciated’. The films chosen for this blog can be little-known slices of genius that very few people are aware exist or critically acclaimed classics that are under-watched by younger generations. It is aimed primarily at the average readership of Varsity, so I apologise now to people who will be up in arms to tell me that there is no way that Blowup is underappreciated, but let me make my case: this slice of cinematic genius is constantly ranked high in list of greatest British films and is widely known, but it has not been as widely seen among younger generations- I’ve probably met two people who have in my three years at university.
Right, so now that is cleared up (I hope), this is why you should have watched Blowup, and if you haven’t you should probably rush out and find a copy before exam-term madness sets in and films that make you think become rather more unappealing. For one thing is absolutely clear about Blowup: it is a film that really does make you think. It cleverly toys with the ideas of modern trust in technology as well as human perceptions of reality. The film’s depiction of London during the sixties also delivers some memorable scenes and intelligent observations; the fashion shoots and the house party being particularly evocative of the cultural moment. Fast-moving action thriller this is not, but it is still a wonderful exercise in the creation of suspense and the creation of doubt in the mind of the audience.
The film stars David Hemmings as an arrogant fashion photographer named Thomas who is in the business of creating certain images, yet he uses his spare time he photographs various aspects of everyday life. In one hunt for new subjects in a leafy suburban park Thomas happens upon a young couple and thinks nothing of adding them to his collection until the woman chases him away. But when he returns to his studio he starts to realise that something was amiss. He starts to investigate the photos and as he blows up larger prints he realises that he has stumbled upon a murder. Things get even more suspicious when the woman from the park (played by the wonderful Vanessa Redgrave) turns up at his house demanding the photos. From here on Antonioni plays with the viewers ideas about human perception of reality and sows seeds of doubt. We never see the murder happen and the images on the photograph when enlarged look almost like Rorschach blots. As Thomas becomes increasingly obsessed and paranoid we begin to question his judgement. What really happened? Surely something did if the woman is so desperate to have the prints? Did he really see a body when he went back to the park? How far do we only see what we want to see?
Antonioni’s film leaves us with far more questions than it answers and isn’t easy to watch but it is most definitely worth it. It is the kind of film that improves with each viewing and, although some of the quirkier and ‘of their time’ elements have dated, the central themes of perception and reality are majestically dealt with. The crowning glory of the film lies in its final scene, where Hemmings’s character watches mimes playing a game of tennis. To ruin what happens next would be to spoil the film for you, but it is cinematic genius, so you had better find out for yourself.
Topics: Film, Underappreciated
