Zur Front

15. Juli 2017

Blow-Up (1966)

Another exposition, though no comedic one, Blow-Up shines a light on heeding and the nature of its foundation.

The film takes a riddle approach like L'année dernière à Marienbad, which is a superior film in every respect, but never mind that, and uses artificial emptiness (of the streets and parks of London) and silence (where tongue wagging would be natural) as means to make the audience pause - and spends a good deal of time on it.

You could say it starts with the photo shoot in the park, but I'd call that prologue, nothing but necessary background information. The film really starts with the words: She's got a better figure than me.

That's rather well acted too. The point is that she fears the shame of being called easy by her friend.

And the next scene, at night in the park, gives the whole film and its idea away, for that cannot possibly be real, so the whole murder is to be taken metaphorically, as the death of dignity at the hands of Paparazzi.

Mind you, that's not the topic of the film, but just a way to stress the condition of the person, who lives his life heeding, just like the scene before and the scene after, which stresses the absurdity of this approach to life by means of the desirability of a broken guitar.

And every scene from then on has its function in the overarching effort to demonstrate that there is a reality that all the heeding naturally refers to lest it'd be unnatural.

Agatha Christie did something similar in Ordeal by Innocence, pointing out the delusions of the aspiring mind, the assumption of involvedness, where it's all completely simple, a bit like a pantomime tennis match indeed.

Nevertheless, Blow-Out is not a bitter film, it just invites mankind to look, to pause and perceive, to heed, what insight dishes up. While doing that it may be guilty of trivialising people, but then again there are trivial people.

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