2014 Cannes Marathon: Blow-Up

(Winner of the Palme d’Or at the 1967 Cannes Film Festival)

Based on the short story Las babas del Diablo (The Devil’s Drool) by Julio Cortazar, Blow-Up is the story of a photographer who believes that he has witnessed a murder from one of his photographs as he is unsure over what he saw. Directed by Michelangelo Antonioni and screenplay by Antonioni and Tonino Guerra with English dialogue by Edward Bond, the film is a look into the world of 1960s Swingin’ London as a fashion photographer deals with what he might’ve seen as well as the forces who are trying to stop him. Starring David Hemmings, Vanessa Redgrave, and Sarah Miles. Blow-Up is an intriguing yet sensational film from Michelangelo Antonioni.

The film explores the life of a fashion photographer who learns that one of his photographs features a dead body as he tries to figure what happened as well as meet a woman who might’ve been involved. It’s a film that has a man who is this revered fashion photographer who is part of this world of Swingin’ London of the mid-1960s as he is at the center of this burgeoning culture as he has uncovered something that has him see something that he might’ve seen as he becomes targeted for his photograph. On the one hand, it’s an unconventional mystery that plays into the mind of a man who tries to uncover a mystery that isn’t supposed to be solved. On the other hand, it’s a film that has a man who is at the epicenter of British fashion as he comes to term with the role he plays and what else he could as a photographer.

The film’s screenplay follows a day in the life of this photographer named Thomas (David Hemmings) who is driven by his art yet sleeping with models and all of that hasn’t really made him happy as he yearns for something more as his neighbor Patricia (Sarah Miles) is content with not dealing with certain expectations. Upon a stroll at Maryon Park where he watches a couple embracing, he takes photographs where the woman Jane (Vanessa Redgrave) wants the photographs. After a day of errands, Thomas looks into the photos he shot and realizes that Jane towards the body of her dead lover as he tries to figure out if there was a murder. While Thomas isn’t a likeable person, that is one of the aspects of the script that makes him interesting as he would often be cruel to his models or be very dismissive about antiques or art. At the same time, he yearns to be very important or do something important as his encounter with Jane would eventually have him facing some dark realities about what he had shot.

Michelangelo Antonioni’s direction is very stylized not just in his approach to the compositions he creates plays to the desire of artistry that Thomas wants. Particularly in the way he creates fashion shots as Antonioni aims for something that feels real but also lively into the world that is Swingin’ London. Yet, there is that sense of style in the way Antonioni creates the compositions as he knows where to put the actors into a frame while maintaining something that is very entrancing visually while maintaining a sense of ambiguity. Much of that ambiguity involves the mystery over what Thomas saw and some of the film’s second half where Thomas would continuously blow up the photos he took to see if he did see something. While the first half had something that was lively, its tone would change in the second half where it would be this suspenseful film but alone that is very existential.

Particularly in how Thomas views himself as he questions what he saw and what does it mean to him. The third act would be about this journey that Thomas takes where it’s not just him seeking some answers but also one that is very existential. Notably as he would question his own desires as an artist and as a photographer where despite all of his talents, it hasn’t really made him very happy. Overall, Antonioni creates a very dazzling and sensational film about a photographer who deals with the mystery that he might’ve encountered.

Cinematographer Carlo di Palma does amazing work with the film‘s very colorful cinematography that is filled with vibrant colors captured in great detail for its interior and exterior scenes as well as the use of lights for Thomas‘ studio. Editor Frank Clarke does brilliant work with its stylish approach to editing such as jump-cuts for some of the livelier moments to more methodical ones for its moment of suspense. Art director Assheton Gorton does fantastic work with the set pieces from the look of Thomas‘ studio as well as the club where the Yardbirds are playing.

Costume designer Jocelyn Rickards does fabulous work with the costumes in the many of the stylish fashion clothes that many of the models wear including the clothes that Jane wears. Sound editor Mike Le Mare does superb work with the sound to play into the atmosphere of the parties as well as the intimacy in Thomas‘ studio. The film’s music soundtrack is diegetic as it’s played on location which largely consists of very lively and fun jazz pieces by Herbie Hancock who adds a lot of wit and cool to the music while the Yardbirds would make a notable appearance in the film as they play Train Kept-a-Rollin' as their performance would feature early appearances of guitar legends Jeff Beck and Jimmy Page as the music is a major highlight of the film.

The casting by Irene Howard is incredible as it features some notable appearances from the model Veruschka as the model posing for photographs early in the film, the Yardbirds as the band playing at the club, Gillian Hills and Jane Birkin as two wannabe models whom Thomas would later sleep with, Julian and Claude Charin as a couple of mimes, Tsai Chin as Thomas’ secretary, Reg Wilkins as Thomas’ assistant, John Castle as Patricia’s painter husband Bill, and Peter Bowles as Thomas’ agent Ron. Sarah Miles is wonderful as Thomas’ neighbor/former lover Patricia who tries to understand Thomas while being the only person he really trusts. Vanessa Redgrave is excellent as Jane as this mysterious woman Thomas photographed as she wants the photos while being very cagey about her relationship with the man who would be killed. Finally, there’s David Hemmings in a phenomenal performance as Thomas as this photographer who has a lot of talent and is in demand yet feels emotionally-empty until he comes across some mysterious photos he took as it would lead him into a journey into the unknown.

Blow-Up is a magnificent film from Michelangelo Antonioni. Armed with a great cast and a fantastic soundtrack, it’s a film that is engaging in its suspense but also explores the world of art and inner-self. For those new to Antonioni, this is most accessible film where it has a lot of his visual trademarks and themes of loneliness but also infuse it with some style that is just fun to watch. In the end, Blow-Up is a spectacular film from Michelangelo Antonioni.

Michelangelo Antonioni Films: (Story of a Love Affair) - (I Vinti) - (The Lady Without Camelias) - Le Amiche - (Il Grido) - L'Avventura - La Notte - L'Eclisse - Red Desert - Zabriskie Point - (Chung Kuo, Cina) - The Passenger - (The Mystery of Oberwald) - Identification of a Woman - (Beyond the Clouds) - Eros-The Dangerous Thread of Things

© thevoid99 2014

2012 Cannes Marathon: The Knack... and How to Get It

(Winner of the Palme D’or at the 1965 Cannes Film Festival)

Based on Ann Jellicoe’s play, The Knack… and How to Get It is the story of three different men who compete against each other for the affections of a young woman who has arrived into London. Directed by Richard Lester and screenplay by Charles Wood, the film is an exploration into the burgeoning world of Swingin’ London during the mid-1960s where new rules emerged. Starring Michael Crawford, Ray Brooks, Donal Donnelly, and Rita Tushingham. The Knack… and How to Get It is a fun and whimsical comedy from Richard Lester.

Frustrated by his flat mate in the cool womanizer Tolen (Ray Brooks), school teacher Colin (Michael Crawford) is having a hard time dealing with Tolen’s gift to wooing women as he’s surrounded by lots of them. Wanting to find out how Tolen charms his ways, he follows Tolen around to see how he wins them over while he’s also searching for another flat mate. Meanwhile, a young woman from the country named Nancy (Rita Tushingham) arrives looking for the WYCA to live in as she is fascinated by London’s new world of style and sexual innuendos. Answering to Colin’s sign at the building is an eccentric artist named Tom (Donal Donnelly) as he helps Colin try to outdo Tolen by getting a new bed. At the junk yard, they meet Nancy who is still looking for the WYCA as they take her home with Colin’s new bed where she meets Tolen who would try to win her over as three men eventually fight each other for her affections.

The film is essentially a story of three different men who meet a woman from the country where she becomes an object of affection for these men in a world where things are definitely changing. The screenplay by Charles Wood is very offbeat for the way the humor is presented and how a character like Colin tries to learn from someone as cool like Tolen. Yet, Tolen isn’t a totally cool dude for the way he things women should be treated such as the way he tries to win over Nancy who is confused by his charms. Colin is just a teacher who is socially-awkward with women and doesn’t know what to do until he sort of gets a chance when he meets Nancy. Then there’s Tom who is just an artist that likes the color white that he paints walls and such in that color to brighten things up as he’s much friendlier and helpful to someone like Colin while being less threatening to Nancy.

While the film focuses on the adventures of these four young people, it is also told from people who are watching them as they serve as a Greek chorus where they are wondering what is going on around them. They would often be in shock by these strange behaviors as they voice out the idea of a world gone mad. It’s to contrast the people of the old guard clashing with this new emergence of what would become Swingin’ London.

Richard Lester’s direction is really off-the-wall in the way he presents the film where it’s obvious he’s taking cues from the French New Waves as if he’s making a film with no rules. Notably shooting on exact locations around London where he is definitely at the center of a world where it’s about the youth going wild and having fun. It is a film about this new world where it’s opening credits scene involves a camera following a group of women wearing white sweaters, short skirts, unique eye makeup, and sporting different hair styles of the time all standing around this flat where Colin tries to get out and has no idea what to do as they’re all there to meet Tolen. The opening scene would establish not just these two characters but also this new world that is happening around them where one of them has embraced it while the other feels out of sorts with it.

The film features lots whimsical elements such as Nancy entering a clothing store where a man repeats words about what to wear as if she’ll look great as she will later repeat them to reveal how manipulative he is. It’s the section of Nancy trying to navigate through this new London that is very interesting where she meets Colin and Tom, they go into this adventure that is in tune with Lester’s quirky sense of humor. Lester’s compositions of these scenes and the meeting where all four characters are in a room together where Tolen tries to maintain his role as womanizer is among some of the most visually-entrancing moments of the film. From the way he displays close-ups to the wide shots he creates to have all of his characters in a frame. Overall, Lester creates a dazzling and very entertaining comedy.

Cinematographer David Watkins does fantastic work with the film‘s black-and-white cinematography to capture the gorgeous exteriors of the London locations as well the bright look of Tom‘s room that he painted all by himself. Editor Antony Gibbs does an amazing job with the film‘s very stylish editing with swift fast cuts to play out the rhythm of the conversations as well as rhythmic jump-cuts to play with some of the film‘s humor. Art director Assheton Gorton does wonderful work with the set pieces such as the bed and Tom‘s room that is the epitome of style while Colin‘s room is an ordinary set to represent who he is.

The costume design work of Jocelyn Rickards is superb for the way the men look to represent their characters as well as the clothes that Nancy wears that is very different from the more sexualized look that many of the young women wear in London. Hair stylist Betty Sherriff and makeup stylist Freddie Williamson do excellent work with the look of the female characters from the cool hairstyles the women wear and the eye makeup they have to represent the 1960s at its best. Sound editor Don Challis does terrific work with the sound to play the atmosphere of the flat as well the locations the characters encounter. The film’s score by John Barry is a major highlight of the film for its jazzy score that is filled with orchestral flourishes and unique jazz rhythms that includes a fun organ accompaniment from Alan Haven to play up the film’s unique humor.

The casting by Paul Lee Lander is extraordinary for the ensemble that is created as it features early appearances from such beauties like Charlotte Rampling as a water skier, Jacqueline Bisset as an extra, Jane Birkin as a woman in a motorbike, and Pattie Boyd (the future first wife of George Harrison) as a model in the opening scene who sprays perfume on her leg. Other notable small roles include William Dexter as a conniving clothes shop owner, Margot Thomas as a female teacher Colin is amazed by her, and Timothy Bateson as a junkyard owner. Donal Donnelly is superb as the low-key yet very funny Tom who likes to share his views on the world while being much friendlier to Colin and Nancy while dealing with Tolen in his own way. Ray Brooks is great as the very cool yet somewhat-uncaring Tolen who likes to have his way with women as he thinks of Nancy as a challenge.

Michael Crawford is brilliant as the very awkward and agitated Colin who is having a hard time trying to score with women while finding someone who seems to like him in Nancy. Finally, there’s Rita Tushingham in a marvelous performance as Nancy Jones. Tushingham displays a great sense of wonderment to a woman who is entranced by her new surroundings as she’s trying to find a place while proving herself to be a great comic force in the film’s third act.

The Knack… and How to Get It is a charming and extremely enjoyable comedy from Richard Lester. With an outstanding cast led by Rita Tushingham and Michael Crawford as well as very catchy score from John Barry. The film is definitely one of the key great films of the British New Wave era of the 1960s. The film is also one of Lester’s great films, outside his more well-known work with the Beatles, as it emphasizes the kind of humor he creates that is in tune with what was happening in the 1960s. In the end, The Knack… and How to Get It is a glorious comedy from Richard Lester.

Richard Lester Films: (The Running Jumping & Standing Still Film) - (It’s Trad, Dad!) - (The Mouse on the Moon) - (A Hard Day’s Night) - (Help!) - (A Funny Thing Happened on the Way to the Forum) - (How I Won the War) - (Petulia) - (The Bed-Sitting Room) - (The Three Musketeers (1973 film)) - (Juggernaut) - (The Four Musketeers) - (Royal Flash) - (Robin and Marian) - (The Ritz) - (Butch and Sundance: The Early Days) - (Cuba (1979 film)) - (Superman II) - (Superman III) - (Finders Keepers) - (The Return of the Musketeers) - (Get Back)

© thevoid99 2012