Blow-Up Page #3

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.
 
IMDB:
7.6
Rotten Tomatoes:
87%
NOT RATED
Year:
1966
111 min
3,113 Views


You've got it.

Hold that.

Not many girls can stand

as well as that.

No, thanks. I'm in a hurry.

You'll get your pictures.

I promise.

I always keep my word.

Come here.

Show me how you sit.

Who is it?

Oh, yes. That's right. Hold on a second.

Is it for me?

It's my wife.

Why should I speak to her?

Sorry, love.

The bird I'm with won't talk to you.

She isn't my wife, really.

We just have some kids.

No.

No kids. Not even kids.

Sometimes, though,

it feels as if we had kids.

She isn't beautiful. She's...

...easy to live with.

No, she isn't.

That's why I don't live with her.

But even with beautiful girls...

...you look at them, and that's that.

That's why they always end up by....

And I'm stuck with them all day long.

It would be the same with men.

Have a listen to this.

No. Keep still. Keep still.

Listen and keep still.

You can smoke if you like.

Slowly. Slowly.

Against the beat.

That's it.

I can't stand it.

I'm nervous enough as it is.

Can I have some water?

And I'm not a fool, love.

Can I have the photographs?

Of course.

Later.

Your boyfriend's a bit past it.

Why didn't you say what you want?

Get dressed.

I'll cut out the negatives you want.

They'll go.

They're not going.

Don't go.

-Have you bought a propeller?

-What?

You bought a propeller

this morning, right?

Oh, yes.

You'll have to give us a hand with it.

-All right?

-Fine. Yeah.

What's it for?

Nothing. It's beautiful.

If I had a big room like this, I'd hang it

from the ceiling like a fan.

-Do you live on your own?

-No.

Perhaps I'll put it there

like a piece of sculpture.

It'll look good there.

It'll break up the straight lines.

-Are you going?

-It's late.

Do I see you again?

Well, at least tell me your name

or your telephone number.

Thank you.

Hello?

Knightsbridge 1-239.

What?

No, I'm sorry.

Ron?

Something fantastic's happened.

Those photographs

in the park, fantastic!

Somebody was trying to kill

somebody else.

I saved his life.

Listen, Ron, there was a girl.

Ron, will you listen?

What makes it so fantastic--

Look, hang on, will you, Ron?

There's somebody at the door.

You weren't expecting us, were you?

No.

Can you manage to make

a cup of coffee?

I can make an Irish coffee, if you'd like.

Right, come on.

-She always like that?

-Like what?

Doesn't speak.

What's your name?

Forget it.

What's the use of her name?

What do they call you in bed?

I only go to bed to sleep.

Hello?

Hello?

Look at all these clothes.

No.

-Hey, how about this one?

-Put it on.

What about you?

Help yourself.

The coffee!

What's happening?

-What's the matter?

-She's got a better figure than me!

Go on, whack her.

Go on, give her the left hook.

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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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