1981: Blow Out (Brian De Palma)
I've already penned one essay on this blog, explaining my love for the work of Brian De Palma. And now we've come to Blow Out, my favorite of all his films.
I've said numerous times during this countdown that I have to consider myself a formalist. When I watch a film, the first thing I'm doing is deconstructing and judging the way it's formed. This definitely comes from all the time I spent in France. It's the way Langlois wanted the young Turks to think about film at the Cinematheque. And it's still the way that most French film critics approach the medium. When it comes to being a pure master of the cinematic form -- moving the camera, using music, using sound, editing to maximum effect -- I consider De Palma, along with Scorsese, to be the greatest of all American directors still working today. There's a sensuality and complexity to De Palma's approach to film form. And this is as clear as ever in this film. Just watch the first five minutes.
Some have labeled De Palma cold and callous while I've always found him to be a deeply wounded romantic. And of all the ways I connect to his work, this is where our connection is at its most powerful. Travolta's character in Blow Out seems to me the most personal of all of De Palma's creations. In other words, the one that emotionally most closely resembles the filmmaker. It's devastating to consider, and it's devastating to experience.
De Palma likes to provide thrills. There's a part of him that thinks the experience should be fun and unexpected, and he's very playful in his work. Without providing a spoiler, just look at the way he ends this one.
Historically, I like to think of Blow Out as the final film of the American New Wave. The filmmakers would go on to make more great work, but this seems to be the end of a certain era. And personally, well, it's my favorite film of the eighties.
Other contenders for 1981: I still have some films to see from this year. These include: Samuel Fuller's White Dog, Abbas Kiarostami's Orderly or Disorderly, Ivan Passer's Cutter's Way, Sidney Lumet's Prince of the City, Bertrand Tavernier's Coup de Torchon, Warren Beatty's Reds, Wolfgang Petersen's Das Boot, Rainer Werner Fassbinder's Lola, Jacques Rivette's Le pont du Nord, Adoor Gopalakrishnan's Rat Trap, Andrzej Wajda's Man of Iron, and Bertrand Blier's Beau-pere. I need to revisit Steven Spielberg's Raiders of the Lost Ark, Jean-Jacques Beineix's Diva, and Hugh Hudson's Chariots of Fire as it's been too long since I've seen any of them to know where they'd place on this list. And my closest runner-up from this year is Michael Mann's Thief.
7/16/11 I watched Sidney Lumet's Prince of the City. It's clear that Lumet loves this subject matter, and he gives it an extremely thorough and careful execution. It is maybe the most detailed police procedural I have ever seen. And certainly full of top-notch performances, location work, and cinematography. Just a little too dry at times.
8/21/11 I watched Bertrand Tavernier's Coup de Torchon. Intelligent and written in a literary style. Quirky, with an absolutely excellent performance from Noiret. But left me a little lukewarm after it all.
11/23/13 I watched Bill Forsyth's Gregory's Girl. A film full of heart that reminds me of Bujalski, Carax, and Hartley. Gregory is a lovable, vulnerable, goofy young man and Forsyth gives many of his scenes nice space, warmth, and playfulness. Less austere than some of the other work I have seen from Forsyth but Forsyth's narrative looseness really works in his favor here. One of the best narrative capsules I have seen of the early eighties and a surprising little gem.
MICHAEL MANN’S ‘THIEF’ “Every day’s a surprise. It’s real fuckin’ weird out there…” - © 2015 by James Clark Each film of Michael Mann is arrestingly sown with overtures bearing close resemblance to those salient in many of his cinemat...
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