Sarah Miles | Scott's Film Reviews-1,504 Reviews posted!!! RECENTLY LAUNCHED-MY TOP 250 FAVORITE FILMS AND TOP 40 HORROR FILMS!!!

Blow-Up-1966

Director Michelangelo Antonioni

Starring David Hemmings, Vanessa Redgrave

Top 250 Films #75

Scott’s Review #305

Reviewed December 21, 2015

Grade: A

Blow-up is a mysterious and compelling 1966 (the spawn of more edgy films) thriller that undoubtedly influenced the yet-to-come 1974 masterpiece The Conversation, directed by Francis Ford Coppola, as both films are tense tales of intrigue focusing on technology as a tool to witness a murder.

This film is legendary director Michelangelo Antonioni’s first English-speaking film, and what a film it is.

Set in hip London in the 1960s, it is undoubtedly a fascinating portrayal of the fashion world. The story is about a fashion photographer named Thomas, who is in high demand. He revels in bedding women so they may have their photos taken by this rock star photographer and is chased around London by gorgeous women.

One day, he aborts a photo shoot because he is bored. He is not the nicest guy in the world, but an unlikable character.

But perhaps that is secondary or even intentional. One day, while walking in Maryon Park, he encounters a couple in the distance. They appear to be having a secret rendezvous and nervously kissing, so he begins photographing the woman, Jane (played by a very young Vanessa Redgrave). Jane realizes they have been snapped and is furious, demanding the film.

This sets off the mystery and the meat of the film.

The film is a tremendous achievement in cinematic intrigue. It is pretty psychological and open to much interpretation, which is its genius. The main questions are: “What exactly transpired in the park, and who is responsible?”

We feel little sympathy for Thomas, which perhaps is intentional. And what about Jane?

Talk about a mystery!

We know little about her beyond the fact that she has secrets, but is she responsible for the crime? Throughout the film, Thomas and Jane engage in a cat-and-mouse game, seemingly trying to outwit and outmaneuver each other.

The unique aspect of the film is that the viewer will often ask questions: “Was there even a crime committed?” “Are the events all in Thomas’s imagination, or has he misinterpreted the series”? One will revel in the magnificence of these questions.

I immediately recognized similarities to The Conversation (1974). Both feature one of the senses as a means of solving or realizing the crime committed—in The Conversation, it is hearing; in Blow-Up, it is sight.

In both, the main character uses these senses for a living, and both are arguably not the most likable characters. Both films feature mimes. Both films are pretty cerebral, and both are cinema gems for the “thinking man.”

Blow-Up has weird, little intricate moments- a very tall female Russian model experiences an odd photoshoot with Thomas. Later, a giggling pair of young girls end up in a grappling match with Thomas after asking him to take their photos. A topless (from behind) Jane prancing around Thomas’s apartment is an unusual scene.

As a first-time viewer, I adored this film. It is a good example of a movie that requires multiple viewings to appreciate fully, and I look forward to doing just that.

A fantastic, creative achievement, Blow-Up (1966) is a masterpiece that can be dissected with each subsequent viewing.

Oscar Nominations: Best Director, Michelangelo Antonioni, Best Story, and Screenplay Written Directly for the Screen

Ryan’s Daughter-1970

Director David Lean

Starring Sarah Miles, Robert Mitchum, Christopher Jones

Top 250 Films #87

Scott’s Review #10

Reviewed June 17, 2014

Grade: A

Ryan’s Daughter (1970) is a sweeping epic by the masterful director, David Lean (Lawrence of Arabia, A Passage to India, Doctor Zhivago).

The film is sprawling and filled with fabulous locales of oceanic Ireland. Much of the action takes place using exterior scenes and this is arguably as prominent and important to the film as the story is.

Set in WWI-era Ireland, one will immediately notice the gorgeous Irish landscapes and the brilliant photography involved. This gives the film a timeless look, and one can simply escape into the scenery itself, forgetting the story, and dream away through the roaring waves.

The intense “storm scene” is second to none as Lean had to wait over a year to film this pivotal scene- and Mother Nature had to cooperate.

The story is twofold: a love story involving a woman torn between her schoolteacher husband and a strapping, yet English (at this time there was no love lost between the Irish and English), officer. Rosy (Sarah Miles) is headstrong yet kindhearted, the daughter of a local, prominent man.

Her husband, Charles (Robert Mitchum) is dutiful and loyal to a fault. After Rosy’s affair with the British officer, she is deemed a tyrant by the townspeople, as her husband chooses to stand by her side.

The second story is political. A feeling of extreme nationalism exists among the townspeople against the British. Both stories blend nicely as small-town gossip and a subsequent witch hunt come into play.

The village idiot is played brilliantly by John Mills, who won an Academy Award for his efforts.

Character-driven is the story’s main appeal and the audience will surely feel perplexed about whom to root for or feel empathy for. I know I did. In fact, at different times one’s loyalties can fluctuate or be challenged.

The film is reminiscent of Doctor Zhivago to me as romance and politics intertwine and a dilemma involving the central female characters are similar. At over three hours in length, the film does not drag and remains interesting throughout as the conflict and drama reach a crescendo during the final act.

At no time is there any filler or unnecessary scenes, which, in itself is a positive.

Sadly, Ryan’s Daughter is not considered as worthy as other aforementioned David Lean efforts, but I disagree with this- the film ages exceptionally well- like a fine wine.

This film also focuses largely on a female character and, therefore, is female-driven, a wonderful aspect of the film, circa 1970.

Oscar Nominations: 2 wins-Best Actress-Sarah Miles, Best Supporting Actor-John Mills (won), Best Sound, Best Cinematography (won)