➔ Yazu - 17 Jul 2023

C'est même pas une question de grotesque, c'est une question de pourquoi il le fait, et dans ses films c'est jamais justifié. Ya plus de style que de substance quoi. Quand c'est juste de la série B type Phantom of the Paradise, Carrie, Mission Impossible, ou même Snake Eyes, c'est marrant, quand il essaie de raconter des vraies histoires ça devient compliqué. L'Impasse, les Intouchables ou même Scarface je trouve ça extrêmement surcôté.

Dans le cas de Blow Out je trouve qu'il passe complètement à côté du sujet du film, contrairement à Blow Up et Conversation Secrète. J'étais tombé sur cette critique qui résumait bien ce que je pensais : https://www.standbyformindcontrol.com/2 … -blow-out/

Blow Out is De Palma's riff on Antonioni's Blow-Up and Coppola's The Conversation. Both of his inspirations are subtle, affecting, paranoid statements on what is real and what isn't, on how the human mind seeks out connections and meaning that aren't there, or if they are there, are only as there as everything else in the world is there: In the mind of the perceiver.

Only that's not Blow Out. The gunshot is real. Everything is real. Everything Jack supposes to be true is true. I don't get where the film commentary comes in here. The film he creates is, in the context of the movie, not at all suspect. It's the real deal. It's a genius bit of creative sleuthing proving true what we already know happened.

Jack's only setback is caused by absurd plot contrivances robbing him of his finished film, and resulting in Sally's death. Jack holds her dead body while a camera spins around, a massive fireworks display filling the screen behind them. It's a wild cinematic image. Why it's there for her death, I don't know. Big emotions equal big explosions? This sums up De Palma to me: An image that, taken alone, out of context, looks really cool, but that taken in context has no context. This shot mirrors one earlier in the movie when Jack finds all his tapes have been erased. The camera spins slowly in the middle of the room, around and around and around—we could not be made more aware that cinema is happening here—and all I can think is, why?