Product Details

• Actors: John Travolta, Nancy Allen, John Lithgow, Dennis Franz, Peter Boyden
• Directors: Brian De Palma
• Writers: Brian De Palma, Bill Mesce Jr.
• Producers: Fred C. Caruso, George Litto
• Format: Color, Original recording reissued, NTSC
• Language: English
• Rated: R (Restricted)
• Number of tapes: 1
• Studio: Good Times Video
• VHS Release Date: May 15, 2001
• Run Time: 107 minutes
• Average Customer Review: 4.2 out of 5 stars  See all reviews (82 customer reviews)
• ASIN: 6303471587
• Amazon Best Sellers Rank: #194,204 in Movies & TV (See Top 100 in Movies & TV)

Editorial Reviews

Amazon.com

Brian De Palma's 1981 thriller is something of a homage to Michelangelo Antonioni's masterful Blowup, though there are hints of Francis Ford Coppola's paranoia-inducing Conversation sprinkled throughout. John Travolta plays a sound-effects man who witnesses what appears to be a tragic car accident killing a presidential candidate. The audio tape he happened to be recording at that moment (adding to his collection of natural sounds), however, suggests but doesn't prove that a murderous conspiracy is afoot. Trying to tease a shred of evidence from murky doubt, Travolta's character turns to a hooker (Nancy Allen) for help and stumbles into a web of evil spun by a right-wing kook (John Lithgow). De Palma's fetishistic fascination with obscured truth in a universe ruled by chance makes Blow Out one of his most operatic films. It's also perhaps one of his most revealing about the inherent decadence of creating verisimilitude for art. Sometimes knocked for its outrageous camera technique, Blow Out contains several exciting sequences that underscore De Palma's amped-up admiration for many of Hitchcock's best moves. --Tom Keogh

Customer Reviews

Most Helpful Customer Reviews

35 of 35 people found the following review helpful:

5.0 out of 5 stars Criterion Edition Delves Deeper into Blow Out, April 23, 2011

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Cubist (United States) - See all my reviews

This review is from: Blow Out (The Criterion Collection) (DVD)

Fans of this film can finally get rid of the bare bones edition that was released years ago. In addition to the extras on the DVD, the accompanying booklet features Pauline Kael's original review and a reproduction of the magazine in the film that published the photographs of McRyan's car crash.

"Noah Baumbach Interviews Brian De Palma" features the New York filmmaker talking to De Palma for almost an hour. He talks about the genesis of Blow Out. He also touches upon using the Steadicam for the first time, the film's score, various key scenes, and recounts some fantastic filming anecdotes in this excellent conversation between two filmmakers.

"Nancy Allen Interview" features the veteran actress talking about meeting Travolta for the first time on Carrie (Special Edition) and her impressions of him. She recalls her initial reaction to the script for Blow Out and how she approached her character. Interestingly, Allen wasn't going to do the film but Travolta wanted her to do it.

"Garrett Brown Interview" features the inventor of the Steadicam system recalling how he shot the cheesy horror film at the beginning of Blow Out. He also talks about and demonstrates how one works. Brown comes across as an engaging and candid guy.

"Louis Goldman Photographs" is a collection of stills taken on the set and for publicity purposes.

In a real treat for De Palma fans, his 1967 experimental film Murder a la Mod is included in its entirety. Like Blow Out, the film is a thriller that takes place in the filmmaker world. It is fascinating to see the director's emerging style still in its infancy and how the film is very much of its time.

Finally, there is a theatrical trailer.

40 of 42 people found the following review helpful:

4.0 out of 5 stars One of DePalma's best films, October 11, 2001

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Wing J. Flanagan (Orlando, Florida United States) - See all my reviews
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This review is from: Blow Out (DVD)

Brian DePalma has been (sometimes correctly) accused of manufacturing little more than brilliant pastiche (which is another way of damning him with faint praise). I confess to be as guilty as anyone of this practice, finding films like Dressed to Kill slick, fun, but ultimately less works of art than of skillful post-modern artifice.

Blow Out is a haunting exception. Yes, it has clear antecedents in Antonioni's Blowup and Coppola's paranoid classic, The Conversation. But it is unfair to judge Blow Out by its similarities to these films. One need only pay minimal attention to realize DePalma has his own goals in mind. No mere retread of the standard paranoid political thriller, Blow Out is a bravura exercise in nuanced, multi-layered story telling.

Low budget movie soundman Jack Terry (John Travolta) is in the right place at the wrong time - while out recording some nature sounds for a B slasher flick (in which DePalma seems to poke fun at some of his own earlier work), he catches the sounds of an auto accident. In an incident reminiscent of Chappaquiddick, a car driven by a presidential candidate suffers a tire blowout and careens off a nearby bridge. The candidate dies, but Terry manages to rescue his "lady friend", a party girl named Sally (Nancy Allen). Key to the story is his recording, which seems to contain a double-bang - perhaps the blowout preceded by a gunshot? Naturally the story leads Terry into a web of intrigue featuring slimy political operatives, corrupt cops, and nefarious CIA henchmen.

Blow Out's visual style has drawn criticism from some quarters as being too flashy. Ridiculous! The camera movements are precise and deliberate; designed to communicate story points with great efficiency. The visual technique draws no more attention to itself than anything directed by Scorsese. Raging Bull (released about the same time) is far more "flashy" and nobody complains about it.

The DVD itself lacks any special features, but the film transfer is vivid and detailed, with good color fidelity (essential, since the art-direction is a major "star"). It is also double-sided, with a pan-scan presentation on one side, and enhanced widescreen on the other. Don't even bother with the pan-scan; DePalma and cinematographer Vilmos Zsigmond's compositions are edge-to-edge, making full use of the Panavision frame.

Blow Out is not perfect. Some of the dialogue is contrived and sophomoric. Assassin Burke's (John Lithgow) golf pants in one scene make him look silly when he should seem sinister. But, on balance, John Travolta's solid performance and Brian DePalma's skilled direction more than make up for such lapses. With Blow Out DePalma reaches deeper than usual - with a disquieting sub-plot about guilt, unrequited love, and the futility of seeking redemption. Its conclusion is the punch line to a bitter, existential joke. Read closely, it's a scathing commentary on the Hollywood film industry itself, and the vampiric way it often feeds on very real, sometimes very sad, lives.

14 of 14 people found the following review helpful:

5.0 out of 5 stars One of De Palma's finest films receives deluxe treatment from Criterion, April 19, 2011

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WTDK "If at first the idea is not absurd, the... (My Little Blue Window, USA) - See all my reviews
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This review is from: Blow Out (The Criterion Collection) [Blu-ray] (Blu-ray)

Brian DePalma--you either love him or hate him it seems with one group always attacking him for "borrowing" from other directors and still others praising him for vividly echoing others work while creating something memorable of his own. I come here not to "blow out" DePalma but to praise him. "Blow Out" was one of the first films to use the Steadicam extensively for long tracking shots and DePalma used the device wisely throughout the film.

With "Blow Out" DePalma managed to elicit one of John Travolta's finest performances of his career reaching beneath the surface performance that Travolta often presents to get a sense of genuine emotion. A skewed paranoid thriller that uses the classic film "Blow Up" as its touch point, "Blow Out" focuses on a sound engineer named Jack (Travolta) who believes he recorded evidence of murder. Jack is determined to find out the truth but puts himself and Sally (Nancy Allen)a woman passenger in the car who survived and directly in the path of an assassin (John Lithgow).

The Criterion Blu-ray personally supervised by director DePalma is a huge improvement over the previous regular DVD edition. Fine detail is a huge improvement while clarity and contrast look much improved throughout. The film also went an extensive restoration and clean up which is most notable in the lack of scratches that were evident in the previous DVD presentation. This is a film that will never look perfect (some of the shots are extremely grainy but that's due to the film stock and the lighting choices for the film--it's a typical early 80's film but it looks the best it has ever looked here).

Audio sounds quite strong but keep in mind that this is presented in its original 2.0 NOT in a remixed or repurposed 5.1 mix. We get optional English subtitles. Dialogue and the marvelous music score by Pino Donaggio sound exceptionally crisp and clear.

Criterion rolls out some nice extras for this edition as well. We get DePalma's 1967 feature film "Murder a la Mode" which provided part of the inspiration for "Blow Out". Viewers should keep in mind that DePalma's film is experimental in technique at times and some of the visual choices, motifs, etc. that show up in "Blow Out" were first put on display in DePalma's earlier film.

We get an interview with Garrett Brown who created the Steadicam (and a demonstration for those who don't know how or what it is used for).

We also get an interview with DePalma conducted by director Noah Baumbach which is enlightening allowing DePalma to discuss the thought process behind shooting the film the way he did.

Nancy Allen appears in a new interview as well discussing her first impressions of Travolta (with whom she had worked on "Carrie"), her preparation for the role, etc.

Finally we get the original theatrical trailer (my how times have changed when it comes to theatrical trailers, (theatrical trailers should play like a mysterious seduction NOT quickie in the backseat of a car which is how most are presented today), production stills and, of course, a booklet with an essay by critic Michael Sragow as well as Pauline Kael's original interview with DePalma from the New Yorker.

DePalma often borrowed from other directors--so did Hitchcock, Welles, Ford, Spielberg and Scorsese. Like all of these directors DePalma sometimes managed to make what he borrowed into something uniquely his own while other times you could see the inspiration peaking out from under the covers almost like a child playing peek-a-boo. Regardless of whether DePalma was always successful at disguising his influences or hiding them, at his best, DePalma made intelligent, interesting and sometimes thought provoking thrillers.

Highly recommended.