Blow-Up
- 1966
- Tous publics
- 1h 51min
Un photographe londonien tendance trouve des indices étranges dans les photos qu'il a prises d'une belle femme mystérieuse dans un parc désert.Un photographe londonien tendance trouve des indices étranges dans les photos qu'il a prises d'une belle femme mystérieuse dans un parc désert.Un photographe londonien tendance trouve des indices étranges dans les photos qu'il a prises d'une belle femme mystérieuse dans un parc désert.
- Nommé pour 2 Oscars
- 8 victoires et 9 nominations au total
Veruschka von Lehndorff
- Verushka
- (as Verushka)
Jeff Beck
- Self - The Yardbirds
- (non crédité)
Roy Beck
- Boy dancing In Ricki Tick Club
- (non crédité)
Charlie Bird
- Homeless Man
- (non crédité)
Susan Brodrick
- Antique shop owner
- (non crédité)
Robin Burns
- Homeless Man
- (non crédité)
Tsai Chin
- Thomas's receptionist
- (non crédité)
Julio Cortázar
- Homeless Man
- (non crédité)
Chris Dreja
- Self - The Yardbirds
- (non crédité)
Histoire
Le saviez-vous
- AnecdotesAmong the homeless men whose photos were taken by the David Hemmings character is Julio Cortázar, who wrote the original short story on which "Blow-Up (1966)" is based.
- GaffesWhen Thomas is frolicking with the two girls on the purple paper backdrop in the studio, two crew members, including a camera operator, can be seen just sitting there in the top right side of the frame.
- Versions alternativesSome of the music was rescored for the Warner DVD release, namely the latter part of the opening title music. The VHS releases' music remain intact.
- ConnexionsFeatured in Film Review: How I Learned to Live with Being a Star (1967)
- Bandes originalesMain Title (Blow-Up)
Written and Performed by Herbie Hancock
Commentaire à la une
I would recommend that people who are considering watching this film for the first time not read the following. I don't mention the film's ending, I just believe its far more satisfying to let the films potent details nervously sink into place on their own.
It is not about cameras. It is not about seeing. It is about our perception of our individual world. It throws shadows on the very judgments we build our lives upon. Without mentioning the obvious references to illusion (the mimes, the abstract picture of the corpse, etc.), I offer the following expert signposts Antonioni leaves for us to find.
1) The guitar neck David snatches at the rave-up has value only until he is not being chased for it, whereupon he discards it in the street. The pedestrian who then picks it up sees it only as junk.
2) Dialogue with his model friend at the pot party: DAVID - ` I thought you were in Paris.' THE GIRL - `I am'.
3) Appearances and Disappearance (2 of the many). The Lynn Redgrave character pops up as he arrives at his apartment. His question `How did you find me' is not explained. Later in the story, it is notably odd when David wakes up the following morning after the pot party that there is no one to be seen in the party house. Even the decorations like the clothes hung on the statue the night before have vanished.
4) David teaches the affectations of smoking to the woman. She must create an impression.
5) His painter friend describes his painting. `They don't mean anything to me while I work on them. Its only later that I ascribed something to them. Like this leg.' Whereupon he points out a place in a painting that might be a human leg. When he paints, he is tapping subconscious language, something apart from subjective and objective reality. Its as if Antonioni is offering us an even further vantage point to the events to come, dream reality.
6) The rambling diversion of events shows David's inability to `focus' on working through his mystery.
7) So much is hidden from the viewer. Its almost suggested that the real end to the narrative takes place someplace after the movie has already finished, jarring our sense of story, insinuating an ending we never get to `see'.
8) David announces at one point to his friend, `If only I had more money I'd be all right.'. Meanwhile he drives through the whole movie in his Rolls Royce.
This is a very remarkable film. I was irked by the pacing and the diversions as I watched it, but that was exactly why it all kept coming and coming at me for hours after until finally in bed it all rushed through me like a gorgeous musical event. I know for certain there are many more hidden corners to it, but this is what I got in my first viewing. Just that gut feeling that I missed something, I believe, is exactly where Antonioni was going. You always miss something.
It is not about cameras. It is not about seeing. It is about our perception of our individual world. It throws shadows on the very judgments we build our lives upon. Without mentioning the obvious references to illusion (the mimes, the abstract picture of the corpse, etc.), I offer the following expert signposts Antonioni leaves for us to find.
1) The guitar neck David snatches at the rave-up has value only until he is not being chased for it, whereupon he discards it in the street. The pedestrian who then picks it up sees it only as junk.
2) Dialogue with his model friend at the pot party: DAVID - ` I thought you were in Paris.' THE GIRL - `I am'.
3) Appearances and Disappearance (2 of the many). The Lynn Redgrave character pops up as he arrives at his apartment. His question `How did you find me' is not explained. Later in the story, it is notably odd when David wakes up the following morning after the pot party that there is no one to be seen in the party house. Even the decorations like the clothes hung on the statue the night before have vanished.
4) David teaches the affectations of smoking to the woman. She must create an impression.
5) His painter friend describes his painting. `They don't mean anything to me while I work on them. Its only later that I ascribed something to them. Like this leg.' Whereupon he points out a place in a painting that might be a human leg. When he paints, he is tapping subconscious language, something apart from subjective and objective reality. Its as if Antonioni is offering us an even further vantage point to the events to come, dream reality.
6) The rambling diversion of events shows David's inability to `focus' on working through his mystery.
7) So much is hidden from the viewer. Its almost suggested that the real end to the narrative takes place someplace after the movie has already finished, jarring our sense of story, insinuating an ending we never get to `see'.
8) David announces at one point to his friend, `If only I had more money I'd be all right.'. Meanwhile he drives through the whole movie in his Rolls Royce.
This is a very remarkable film. I was irked by the pacing and the diversions as I watched it, but that was exactly why it all kept coming and coming at me for hours after until finally in bed it all rushed through me like a gorgeous musical event. I know for certain there are many more hidden corners to it, but this is what I got in my first viewing. Just that gut feeling that I missed something, I believe, is exactly where Antonioni was going. You always miss something.
- joegerardi
- 3 août 2000
- Permalien
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- How long is Blow-Up?Alimenté par Alexa
Détails
- Date de sortie
- Pays d’origine
- Site officiel
- Langue
- Aussi connu sous le nom de
- Blow Up
- Lieux de tournage
- Maryon Park, Woolwich Road, Charlton, Londres, Angleterre, Royaume-Uni(scenes where Thomas first photographs Jane and where mime artists play tennis at the end)
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 1 800 000 $US (estimé)
- Montant brut mondial
- 38 575 $US
- Durée1 heure 51 minutes
- Mixage
- Rapport de forme
- 1.85 : 1
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