Analysis of Thriller Openings - Blow Up

Analysis of Thriller Openings - Blow Up

Blow Up (1966): http://www.imdb.com/title/tt0060176/

Director: Michelangelo Antonioi

Writers: Michelangelo Antonioi, Julio Cortazar, Tonio Guerra, Edward Bond

Blow Up was released in December 1966 and has since become a cult classic for its intriguing story and its depiction of 1960's London. The film unknowingly created many of the thriller conventions which audiences expect from modern thrillers, acting as inspiration for hundreds of films half a century after it was originally released.

The first thing the audience sees is the bright green panels of the opening titles. The use of bright colour in this instance is unconventional, meaning the audience is immediately drawn into the film.

The audience can vaguely see texture within the green panel which is kept unclear as to what the texture symbolises or actually is. This is kept ambiguous in order to further attract the audience, creating tension in the fact that there is uncertainty in what they are seeing.

The use of non-diegetic, asynchronous jazz and 'surf' style music immediately suggests that the film will be set in the 1950s or 1960s as this is when jazz was at its highest popularity. Using jazz contrasts with the more instrumental, classical music used by most thrillers. This immediately gives the film a laid back vibe to the audience, suggesting the film will not strictly follow thriller conventions.

The font used in the opening titles adopts a sans-serif, block capital style. The 'hollow' style of the writing allows the audience to glimpse figures in the background while still maintaining focus of the titles themselves. At first, the audience can only see the sky and dark, moving shapes in the foreground. However, as the 'Carlo Ponti Production' panel cuts straight to the film's title, the audience can then see visible figures through the 'blown-up' letters. The figures become distinguishable as the scene progresses, showing a photographer in silhouette while a woman poses on the building opposite. At first, the audience focuses on the photographer, then on the woman, then on the figures surrounding the photographer which draw the viewer's eyes to the right of the screen. When the actor's names are on screen the shots specifically focus on the woman, through the letters on screen. The minimal view the audience is given makes the scene more voyeuristic, as if it is a personal interaction between the audience and the woman, as opposed to the entire crowd of  predominantly men below.

*Here the title sequence ends however the remaining two minutes are still useful in setting the tone for the remainder of the film.

The titles then cut straight to a long shot of a modern, but seemingly derelict building. This therefore suggests that the film may take place in an urban environment, a setting which is often used in thrillers. The shots of the woman behind the window like letters in the title sequence reflects the windows on the building in this long shot.

The immediate cut of music between the title sequence and this scene helps to convey a feeling of desolation to the location, making the audience disorientated due to their lack of direction within the scene.

The long shot used here allows the audience to briefly see a large group of rowdy people in what appears to be an army jeep.

This immediately creates confusion for the audience, allowing them to question why such a bulbous vehicle would be present in a suburban area.

The diegetic sound of the whirring engine shows the audience that the car has clearly been used, adding to my suggestion of it being an army jeep.

In this mid-close up, the audience can now see the occupants of the jeep as well as clearly hear their cheers. Each member of the group features a painted white face which could resemble a mime or street performer. This allows the audience to interpret the identities of the group in a number of different ways. For example, given that every member of the group features the make-up, it could be interpreted that the group is part of some form of organised crime or gang. This would link to the armored, black jeep which the group occupies, as they may be using it to commit crimes or escape the law. 

However, from another perspective the audience could interpret the group as part of a festival or fair. The audience could think this due to the audible, genuinely happy cheers of the group. Whilst a more slow or sinister laugh would fit in with my theory of the group being villainous, the cheers heard appear to be genuine meaning the group is likely celebrating an event or holiday. 
In the distance, the viewer can notice buildings which contrast with the modernist style of the abandoned buildings closer to the group. The style of buildings in the background looks to be of an English or European style, giving some clarity as to where the film is set.

The pavement shown also appears to be wet, most likely from rain. Whilst relying on a British stereotype, this could relate to the typically poor weather of England and the UK, narrowing the scope for the location of the film.

The brief glimpse of the taxi here gives further detail as to where the scene and the film take place. The style of the taxi is typically associated with London and are regularly seen around the London area.

The taxi briefly acts as a hide from the approaching group, which draws the audience to the left of the screen. After the taxi passes, the long shot used of the street allows the audience to take note of the group's numbers as they burst into focus.

The long shot used here shows more of the urban environment in which the scene is set. From the large gate as well as the flood of men exiting it, it could be assumed that the buildings present in the background are part of a factory or mill. This would further add to the suggestion that the scene takes place in London, if not England as the mid twentieth century was still a time of industry for the public in England. 

The straight cut between the group's arrival in the previous scene and the shot of the factory creates a visible contrast for the viewer. For example, the colours and patterns worn by the 'theatrical' group are used to make them more visually attractive. This therefore becomes contrasted by the next shot, as the workers feature much more muted, bland colours and textures. The happy, exuberant nature of the group in the previous scene is accentuated through their visual youth, creating another difference between the two groups, as the workers appear to be much older and mature.

The mid shot used here focuses specifically on this character, thereby suggesting he may have a substantial role in the film. The first appearance of the character depicts him in rough, scruffy clothing which, like in other thrillers, could suggest the figure is an antagonist or villain.

As well as this, throughout the scene, the audience never hears the character speak, adding to his already mysterious appearance. This trope of muteness is often associated with antagonists in film, including thrillers. The lack of words spoken by the character creates a sense of unease for the audience, as they remain tense for what he may finally speak.

Shortly after this, the audience can notice two nuns walking down the, presumably London, street. This gives immediate thoughts and suggestions to the audience. The use of the colour white gives connotations to the audience, as the colour gives connotations of innocence and holiness, themes which the film could therefore involve.


Following on from this, a tracking shot is used here for the benefit of the audience. The focus on the character's car helps to develop the audience' s thoughts surrounding the character. The car is kept clean and well maintained, suggesting the character has wealth in order to do so. However, the solid black colour of the car relies on the audience's pragmatic understanding of the colour black and its connotations. Meaning the audience could instead interpret the car as a representation of the character's possible antagonistic personality

Here the audience can notice a camera beneath the considerable collection of newspapers kept by the driver. This, similar to the car itself, gives no clear explanation to the character's role within the film. For example, the camera could suggest that the character is simply a photographer or journalist, and he is merely pursuing his profession. However, it could also suggest that the character is collecting pictures for a more sinister or criminal purpose, perhaps giving aid to the 'mime group' seen earlier in the scene.

List of Titles in Chronological Order:

PREMIER PRODUCTIONS CO.,INC PRESENTS 

A CARLO PONTI PRODUCTION

BLOWUP

STARRING VANESSA REDGRAVE / SARAH MILES / DAVID HEMMINGS

WITH JOHN CASTLE / JANE BIRKIN / GILLIAN HILLS / PETER BOWLES / VERUSHKA / JULIAN CHARGIN / CLAUDE CHARGIN

DIRECTOR OF PHOTOGRAPHY CARLO di PALMA

MUSIC COMPOSED BY HERBERT HANCOCK

"STROLL ON" FEATURED AND COMPOSED BY THE YARDBIRDS

DRESS DESIGNER JOCELYN RICKARDS

ASSISTANT DIRECTOR CLAUDE WATSON

SOUND RECORDIST ROBERT GREGORY

LOCATION MANAGER BRUCE SHARMAN

CAMERA OPERATOR RAY PARSLOW

CONTINUITY BETTY HARLEY

MAKE-UP PAUL RABIGER

HAIRDRESSER STEPHANIE KAYE

SOUND EDITOR MIKE LE MARE

DUBBING MIXER J.B.SMITH

WARDROBE SUPERVISOR JACKIE BREED

DIALOGUE ASSISTANT PIERS WAGGARD

PHOTOGRAPHIC MURALS BY JOHN COWAN

ART DIRECTOR ASSHETON GORTON

PRODUCTION MANAGER DONALD TOMS

EXECUTIVE PRODUCER PIERRE ROUVE

STORY BY MICHELANGELO ANTONIONI

INSPIRED BY A SHORT STORY BY JULIO CORTAZAR

SCREENPLAY BY MICHELANGELO ANTONIONI AND TOMIO GUERRA 

ENGLISH DIALOGUE IN COLLABORATION WITH EDWARD BOND

PRODUCED BY  CARLO PONTI 

DIRECTED BY MICHELANGELO ANTONIONI