Synopsis: A successful mod photographer in London whose world is bounded by fashion, pop music, marijuana, and easy sex, feels his life is boring and despairing. Then he meets a mysterious beauty, and also notices something frightfully suspicious on one of his photographs of her taken in a park. The fact that he may have photographed a murder does not occur to him until he studies and then blows up his negatives, uncovering details, blowing up smaller and smaller elements, and finally putting the puzzle together.
Production: MGM
  Nominated for 2 Oscars. Another 7 wins & 6 nominations.
Rotten Tomatoes:
111 min

-So long. We'll see you again.


Give me your money. Do it.


-Thank you.

Blue 439.

-Blue 439. Over.

-Blue 439, go ahead, please. Over.

Phone Weston 0-219.

Tell him I' m on my way, will you?

Roger Wilco. Stand by.

-Hello, love.


-Get that stuff developed, will you?


Right away.

Here I am.


-I've been ready for nearly an hour.


I'm catching a plane for Paris

at 11, so I can't--

Can't what?

It doesn't matter.

Who the hell were you with last night?


Reg, let's have some noise, can we?


That's good. That's good.

Hold that.


Give it to me now.

Come on. That's good.

Hunch. Hunch more.

That's it. That's good.

That's good. And the hair back.

And the hair back.

That's great. That's great!

That's good. More of that.

Now give it to me. Really give it to me.

Come on, now.

As fast as you can, give it to me.

Come on, right forward.

That's good. This side. This side.

Lean right forward. Hand up.

That's great. Just touch the face.

That's very good.

And again around this way.

Touch the face again.

Good. Now the hair.

Marvelous. That's great.

Good. Yes, the hair.

Much more. Much more.

Good. Yes, that's great.

That's good. Yes. And again. And again.

Oh, hold that.

Hold the hair back. Again. Good.

Okay, Reg, 50.

On your back. On your back. Go on.

Yes. Now really give it to me. Come on.

Come on. Work, work, work!

Great. Great. And again.

Go on. Back. Back. Arms up.

Stretch yourself, little lady. Great.

And again. Go on. Go. Go.

That's great.

That's it. Keep it up. Lovely.

Yeah, make it come. Great.

No, no, head up. Head up.

Now for me, love. For me.

Now! Now! Yes! Yes! Yes!


Yeah, hold on.

It's Peter.




Yeah, I've got it somewhere.

I know I have.

Yeah, hold on.

Reg, take down the address

of that bloody junk shop, would you?

Why, they're fabulous. Go on.


Yeah. Great.

Here. You can burn that lot.


-Get the birds down, will you?


No chewing gum. Get rid of it.

And not on my floor.

You, arm down.


Six millimeter.


How about the leg

a little further forward?

Put the head up.

Just go. Mouth open. Yes, good. Good.

No, you're all wrong. Start again.

Rethink it. Rethink it.

Stripes, let the dress just fall down.

Keep the stripes straight.

Just let your arms

go up and down.

Yes, very tasty. Yes, I like it.

I like it. Go on.


All right, change position.


Wake up!

You can thank your lucky stars

you're working with me, can't you?

All right, one more.

And let's smile now. Come on.




I asked you to smile.

What's the matter?

Have you forgotten what a smile is?


All right, you're all tired now.

Go on, relax.

I can't see your eyeballs anymore.

They're just slits.

Go on.

Close your eyes.

Close your eyes.

And stay like that.

It's good for you.

Close your eyes.

That must be five or six years old.

They don't mean anything

when I do them. Just a mess.

Afterwards, I find something

to hang on to, like that--

Quite like that leg.

Then it sorts itself out and adds up.

It's like finding a clue

in a detective story.

Don't ask me about this one.

I don't know yet.

-Can I buy it?


Will you give it to me?


Tight-faced bastard.

He won't float me

one of his crappy paintings.

I'll creep down one night

and knock it off.

Don't stop, it's lovely.

You look tired.

I've been all night in a doss house.

They say they've been

asked to come here.

-Not by me.

-Well, we weren't exactly asked.

Sorry, I'm busy.

They're printing some snaps

for me upstairs. Go and fetch them.

Couldn't you give us

just a couple of minutes?

A couple of minutes?

I haven't even got a couple of minutes

to have my appendix out.

-Well, when can we come then?


The others still waiting

with their eyes shut?

Yes, they're waiting,

but their eyes are open.


Tell them to shut them again.

Get rid of that bag. It's diabolical.

Can we come back this afternoon?

-What do you want?

-Just looking around.

There are no cheap bargains here.

You're wasting your time.

Well, I'll just have a look.

What are you looking for?


-No pictures.

What kind of pictures?


-Sorry, no landscapes.

Sold. All sold.

-You the owner?

-No, the owner is out.

Expecting him?

What are you doing?

Stop it! Stop it!

Give me those. You can't

photograph people like that.

Who says I can't?

I'm only doing my job.

Some people are bullfighters...

...some people are politicians.

I'm a photographer.

This is a public place. Everyone has

the right to be left in peace.

It's not my fault if there's no peace.

You know, most girls would pay me

to photograph them.

I'll pay you.

I overcharge.

There are other things

I want on the reel.

What do we do then?

I send you the photographs.

No, I want them now.


What's the rush?

Don't let's spoil everything.

We've only just met.

No, we haven't met.

You've never seen me.



-My agent saw you about this shop.

-Did he?

He's a man with a cigar.

Throws ash everywhere.

I expect I remember him.

I probably asked

for too much money.

Money's always a problem, isn't it?

Tell him to come back.

Why are you selling?

I'd like to try something different.

Get off somewhere.

I'm fed up with antiques.

Get off where?

Rate this script:5.0 / 1 vote

Michelangelo Antonioni

Michelangelo Antonioni, Cavaliere di Gran Croce OMRI (29 September 1912 – 30 July 2007), was an Italian film director, screenwriter, editor, and short story author. Best known for his "trilogy on modernity and its discontents" — L'Avventura (1960), La Notte (1961), and L'Eclisse (1962), as well as the English-language Blowup (1966), Antonioni "redefined the concept of narrative cinema" and challenged traditional approaches to storytelling, realism, drama, and the world at large. He produced "enigmatic and intricate mood pieces" and rejected action in favor of contemplation, focusing on image and design over character and story. His films defined a "cinema of possibilities".Antonioni received numerous awards and nominations throughout his career, including the Cannes Film Festival Jury Prize (1960, 1962), Palme d'Or (1966), and 35th Anniversary Prize (1982); the Venice Film Festival Silver Lion (1955), Golden Lion (1964), FIPRESCI Prize (1964, 1995), and Pietro Bianchi Award (1998); the Italian National Syndicate of Film Journalists Silver Ribbon eight times; and an honorary Academy Award in 1995. He is one of three directors to have won the Palme d'Or, the Golden Lion and the Golden Bear, and the only director to have won these three and the Golden Leopard. more…

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Submitted on August 05, 2018

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