Brian De Palma
Blow Out

In Perugia, as I assume is the case for other Italian cities, there is the “Book Stop,” which is a spot located at the train or minimetro stop (there are several, corresponding to the number of stations), consisting of a sort of panel, like a lectern, where you can always find different books. The fun part is that, besides books, you can also find (and I'll tell you this from experience, which I'm about to share) VHS tapes, presumably coming from the local libraries, which, having duplicates, make the extra copies available. Whoever passes by has the right – almost the obligation – to pick up the displayed object, completely “free,” take it home, give it as a gift, or leave it at a subsequent station (if it's a book to glance through – the VHS is “home video”!).

Having just started my first year of University a few days ago, I've noticed this curious opportunity – this completely free service aimed at spreading culture. Initially, I just observed. Today, however, I couldn't resist.
At the minimetro stop just outside the Central Station, I spotted two VHS tapes among various items (plus some books): “Awakenings” (directed by Penny Marshall – 1980 – starring Robert de Niro and Robin Williams) and “Donnie Brasco” (directed by Mike Newell – 1997 – starring Johnny Depp and Al Pacino). Recently, a friend of mine gave me a used VCR that was still working, which had been idle for years. I couldn't resist the two films calling out to me “take me! … take me!”. So, I took them.
About an hour later, taking advantage of the ticket's validity, which hadn't expired yet, and needing to return to the train station, I took the minimetro, which, from the Center, “brought me back to where I started”. Before reaching my destination, curiosity struck me to stop at a previous station, hoping to find another gem at the Book Stop. I found four VHS tapes, from which I had to select a few, out of respect and also for the joy of choice. My hands – and my eyes – grabbed “Blow Out” and “Carlito’s Way”, both by the master Brian De Palma. It's the former I want to discuss, as it's the only one I watched just after getting home, and it's still fresh in my mind.

I'm already familiar with Brian De Palma – for having actually watched them – “Greetings” (1968), “Carrie” (1976) (so far my favorite from the director), “Dressed to Kill” (1980), and “Scarface” (1983) (seen only once, and a very long time ago). Of these four I've mentioned, the one closest in style and structure to “Blow Out” appears to be “Dressed to Kill”, released a year earlier.

It's 1981! De Palma is still married to his discovery from “Carrie”, Nancy Allen, who played the quintessential villain in the horror dominated by Sissy Spacek and Piper Laurie (also very villainous!). In “Blow Out”, however, as in “Dressed to Kill”, the New York blonde plays the role of the friendly protagonist, helping in the investigations following a murder.
John Travolta (also an antagonist in “Carrie”, and still far from his most tragicomic role – the one in “Pulp Fiction” – which recently earned him an Oscar meme, I'd say), alias Jack, is a former police officer working in the film industry focusing on sound effects.

One night, while recording “field recordings” near a bridge, Jack/John witnesses a car accident: the car plunges into the river after crashing through the road's protective barrier. Inside the car are two people: a girl – that is, Sally/Nancy, and a man who is dead, later revealed to be the state governor running for the presidential elections. Jack/John saves the girl, initiating a relationship that is more of a game of glances between phases of the investigation. Naturally, Jack is instructed to keep his mouth shut, not to disclose the girl's presence in the Governor's car, to avoid a nationwide scandal. The situation, understandably, is tight; he decides, through reviewing the tapes and the detailed, repeated viewing of the footage of the accident, to delve deeper into the issue – aided by Sally.
I won’t reveal the ending, but I assure you that De Palma reaches the heights of genius, through a grotesque device, that will truly give you goosebumps.

Discussing the relationship “Dressed to Kill/Blow Out”, there are various similarities, but there's also a major fundamental difference. The first heavily relies on “Carrie” (certain scenes are a blatant reference, the music itself – by the loyal Pino Donaggio – mirrors that of the horror masterpiece), and has a more accentuated morbidity, the director's trademark; “Blow Out”, on the other hand, though it shares atmospheres, in terms of image and sound, with its predecessor, is a film that explores, more delicately, the genre of the “giallo all’italiana”, yet remains Hollywoodian, and possesses a strong political connotation.
If “Dressed to Kill” indulges in Freudian allegories, which I found at times of bad taste, “Blow Out” succeeds through a balancing of technique and narrative, creating a rhythmic base of equilibrium, that doesn't bore nor feels voyeuristic (despite the “spy eye” being ever-present).

The performance by Travolta is not exactly stellar, nor is Nancy Allen's, but it's the story, De Palma's impeccable camerawork, and the music, serving as counterpoint, that elevate the film to a masterpiece.

Rating: 8.5/10