Yes, that is a story, whereas in life some dozen years ago Antonioni had some kind of stroke. His speech is impaired " he does not speak: are they the same thing? He has made a few more films, in collaboration, usually with Wim Wenders, and in truth they are neither good Wenders nor good Antonioni. Still, Antonioni will be 93 this year, here and not quite here. Observing if not exactly participating? It reminds me of the feeling in L'Avventura (1960), after the young woman, Anna, has disappeared, that she is watching the rest of the film, and may even be its director, looking into the empty spaces " the emotional spaces as well as the physical " where once she was. [ * notebook WRITE ]

...

... Well, this a description of any commercial movie, when you do not understand the logic of the story,motivations of characters, ABSENCE of symbols (in cinema?)... not in BlowUp, where everything is easy to understand, including the final episode.
It is good in 2007 as it was in 1966, or even better.
A century from today it will be obvious, how great is this film.
In short, it's not a movie, which is watching you eating popcorn. It requires your co-creating, your mind, your soul, your life experiences. Don't rent it, buy it, own it, don't wotch it, see it. Not people change my life, when I was seventeen...
[from my comments at amazon]

... "film" album

"endings" [ resolution ]

[ italian cinema & 8.5 fellini ]

...

"MURDER. MODELS. MADNESS.

Photographs From The Motion Picture BLOW-UP.

On it's release in 1966, Michelangelo Antonioni's BLOW-UP generated more speculation and controversy than perhaps any other film in motion picture history. A murder mystery played through a narrative of thoughts and set against the world of high-fashion photography, Blow-Up ASTOUNDED people in 1966 and continues to today.

An exhibition of mostly unseen photographs from the film opens at HQ on March 6. Curator, David Wills believes Blow-Up's enduring popularity lies not so much in the story but in the visuals, "You can have your multi-level themes, your vanguard displays of sexual liberation, your New Wave acting techniques and your references to Hitchcock, BLOW-UP in 2003 is about Veruschka, at her most intimidating, snaking around the seamless paper; David Hemmings with his camera coursing recklessly through the streets of London; a topless Vanessa Redgrave frugging to the Yardbirds, and models Peggy Moffitt and Jill Kennington being screamed at while trying to maintain their robot poses. In retrospect I think the most important thing about the film, and many will disagree, is that it offers a realistic, almost Warholesque "slice-of-life" version of what we all fondly look back at as the 1960's. Never in history has their been a time in fashion and design that had such strong concepts and for this reason Blow-Up remains at the eye of the storm." ..." [ * ]

The Advanture^script

antonioni lib.berkeley.edu :

The architecture of vision: writings and interviews on cinema / Michelangelo Antonioni; edited by Carlo di Carlo and Giorgio Tinazzi; American edition by Marga Cottino-Jones. New York: Marsilio Publishers; St. Paul, MN: Distributed in the U.S. by Consortium Book Sales and Distribution, c1996.

Antonioni: the poet of images / William Arrowsmith; edited with an introduction and notes by Ted Perry. New York: Oxford University Press, 1995.

The films of Michelangelo Antonioni / Peter Brunette. Cambridge; New York: Cambridge University Press, 1998. Series title: Cambridge film classics.

Antonioni, or, The Surface of the world / Seymour Chatman. Berkeley : University of California Press, c1985.

Chatman, Seymour Benjamin
Michelangelo Antonioni: the investigation. Koln ; London : Taschen, c2004.

[ check questia.com ]

BLOWUP data [1966]

Writing credits :

Julio Cortázar short story Las babas del diablo and Michelangelo Antonioni story

Michelangelo Antonioni and Tonino Guerra

Edward Bond English dialogue

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