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#270 Blow-Up

Watched: June 13 2020

Director: Michelangelo Antonioni

Starring: Vanessa Redgrave, David Hemmings, Sarah Miles, John Castle, Verushka, Jane Birkin, Peter Bowles, Gillian Hills

Year: 1966

Runtime: 1h 51min

Disclaimer: You may experience some unscheduled breaks between blog posts. This is perfectly normal and nothing to panic about. The delays may be due to the fact that Trondheim is finally sunny and thus blogging sisters must spend as much time as possible outdoors before the temperature drops again (and it will). Other delays may happen because of Sister the Youngest’s fancy new job which she started this month. Please be patient, and we’ll be back to normal in no time at all. Or in a while. Who knows?

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Thomas (Hemmings) is a self-centred asshole fashion photographer in swinging London. He is also, as spoiled, rich people often are in movies, bored and disillusioned.

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“Do I objectify women? Of course not! I open my shirt while I’m working and have them squirm half naked underneath me because it’s the professional thing to do.”

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After stalking a couple in a park and ignoring the woman’s request that he stops taking her picture, he is surprised to find the same woman (Redgrave) at his studio. She has come to ask for her pictures back, even going so far as to offer sexual favours for their return.

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“I might consider giving you the film if you get half naked and squirm a bit…”

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He eventually gives her a film roll, but not the one she’s after. Instead, when she leaves he develops the pictures. But what he finds is unexpected: did he acidentally capture a murder on film?

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“Oh no! A white blob! Must be murder.”

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Our favourite scene in Blow-Up was the titular one: where Thomas develops the photos and gradually blows up parts of the images to reveal what was hidden in the background. It’s very well done and exciting to watch.

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Pictured: our second favourite scene and coincidentally our new summer wardrobe.

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We also enjoyed the mystery of what really happened in the park and who the woman was. However, if you’re looking for a mystery which neatly wraps up in the end, stay away! You will find no resolution here.

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Although, according to some sources, you will find the pubic hair of one of these lovely ladies. So if that’s your fetish, enjoy!

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What you will find are such things as excellent mod fashion, great (occasionally stressful) music, gratuitous nudity, an asshole protagonist (who is also a clear inspiration for Austin Powers, but without the charm), beautiful photography, a very Norwegian rock concert audience (no one moves!), an amazing old antiques-dealer who reminded us a bit of Rebecca Femm (“Can’t have landscapes!”), and existential crises.

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Oh, and there are mimes. But don’t let that put you off. It’s actually very tastefully done.

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Overall, we enjoyed this movie. We HATED the protagonist, and the fact that no one seems to have a name (except Ron) made it confusing to take notes as we were watching (yes, we take notes. We are that nerdy…), but it is beautiful to look at and intriguing to watch.

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Life lesson: don’t be like creepy Thomas. Don’t take photos of strangers and then refuse to stop when they ask you to. Have we mentioned that Thomas sucks? ‘Cause he does!

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What we learned: If you find a dead body, try calling the police BEFORE you go partying.

Next time: Cul-De-Sac (1966)

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#187 Beat Girl

Watched: July 11 2018

Director: Edmond T. Gréville

Starring: Gillian Hills, David Farrar, Noëlle Adam, Christopher Lee, Adam Faith, Oliver Reed

Year: 1960

Runtime: 1h 29min

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Jennifer (Hills) is a poor little rich girl with daddy issues and a need to distinguish herself and find her identity. She spends her time with sort-of boyfriend Dave (Faith), a musician with a magical guitar that can play all instruments, and his beatnik friends in a bar in Soho.

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As all teenagers, they are the only ones who have found the real answer to life. Skipping school and living for kicks, unlike those other squares!

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When her rich architect dad Paul (Farrar) brings home his new French wife Nichole (Adam), Jennifer is less than impressed. She rejects all of Nichole’s attempts at forming a relationship, even though her new stepmom might just be the only one who really tries to understand the girl.

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It helps that the daughter and the new wife are practically the same age

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Paul is more interested in his vision of a future city he wants to build than he is in his daughter, which drives Jennifer to increasingly risky behaviour to get his attention. When a local stripper recognizes Nichole, Jennifer makes it her mission to dig up dirt from her stepmother’s past, which puts her on the radar of dangerous strip club owner Kenny (Lee).

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“I am Dracu… I mean, I am Kenny! Dammit.”

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We really enjoyed Beat Girl despite our sympathy for Jennifer being a bit limited. Maybe we’re too old to empathise completely with a spoiled girl playing at being special and shocking, although we can understand her motivation and we like that she shows some spunk and self-preservation, especially in her dealings with Kenny.

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Pictured: not the father figure you’re looking for.

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Still, she’s a bit of a pretentious bitch. However, we loved the opening scene, the music (by John Barry), the now dated slang used by the teenagers, and the very salacious strip tease.

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FYI, if you like women who know their way around a sheet, this is the film for you!

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It’s a well-scored and interesting perspective on the disenfranchised post-war generation and well worth watching.

What we learned: Play with fire and you’ll get burnt. Also, we need Dave’s magical guitar!

Next time: Black Sunday (1960)