Hit Me With Your Best Shot: Blow-Up (1966)

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I had never seen Blow-Up, or anything by Italian filmmaker Michelangelo Antonioni for that matter, but I had read Julio Cortazar’s “Las Babas del Diablo” (“The Devil’s Drool”), the short story on which this movie was supposedly based on, and let me tell you, trying to know what exactly is going in Cortazar’s story is as difficult as trying to figure out what exactly Antonioni in trying to say int his movie. As for me, I must say that I didn’t really like it. It’s not that I can’t appreciate an art film or anything like that, but the way this movie unfolded left me completely cold. I don’t really know what is going on, what we are supposed to make of the rather misogynistic lead character, or what Antonioni was trying to do with this thing.

I read a lot of reviews trying to figure out what people saw in the movie as to have turned it into a classic. A lot of them, even when they were negative, pointed at the interesting visuals, but I have to say that I wasn’t impressed by that either. I guess this just wasn’t the movie for me. Still, I managed to find a shot that I found both beautiful and representative of my experience watching the film. Here we have the lead character walking away from a sexy threesome with two young models to look at the photographs he took earlier that day, which may or may not have captured a murder as it was happening. The guy can’t decide what he should be doing, and I think that’s my problem with the movie. It just sits in the middle, without really doing something. Or at least that’s how I thought of it.

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