Blow Out (in Hollywood Movies) Blow Out (1981) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream Blow Out on your mobile, tablets and ipads
Plot: This stylish Brian De Palma thriller plays off the theme of the unsuspecting witness who discovers a crime and is thereby put in grave danger, but with a novel twist. Jack Terry is a master sound recordist who works on grade-B horror movies. Late one evening, he is recording sounds for use in his… Runtime: 108 min Release Date: 24 Jul 1981
The Zenith of Brian De Palma's Films. (by HeartMonger)
A film starring John Travolta in the early eighties was sure to attract attention, but that did not mean it would necessarily be good. A film about conspiracy, murder, and politics would not take in the best at the box office, but that did not make it bad. Well, in the world at the time "Blow Out" was released, John Travolta's career was beginning to fade and more people were being taken in by Science Fiction and slasher which is noted and poked fun at in the film's opening films and did not want to use neurons to enjoy this film. Not a wise choice. "Blow Out" is <more>
a psychological and poignant film about the curiosity and outcomes surrounding the death of a politician. When Jack Terry Travolta, in what may be his best, but most underrated role to date is out catching sounds for a film he is putting together, he records and therefor, witnesses a car get it's tire blown out and fall into the nearby river. Astounded, he jumps into the car and finds there to be a dead driver, but a woman, very much alive and in distress. He rescues her, and both are taken to the hospital. It is revealed that the lady's name is Sally Bedina Nancy Allen, in one of her best roles also and the man she was with is the man who was most likely to be the next president, Gov. McRyan. Chaos ensues when Jack finds out through his sound recordings that the car was not hit by a flat tire, but that someone may have shot the tire out, as an assassination. As Sally and Jack delve deeper and deeper into the mystery, someone is out there, watching them, waiting, with an agenda of his own. Cleverly written thriller, which keeps you on the edge of your seat through the entire film, never lets up, and suggests what most films especially in today's times will not-Conspiracy. In every sense of the word-in the government, in the working classes, in humanity in general. A take from an earlier film, Antonioni's "Blow Up" which was released in nineteen sixty-six, this film explores the diversity of human emotions, and motivations. All the characters are clearly developed, and all with different aspects about them.Jack, is a sound man, doesn't seem to care much about opulence, and is an all around type of guy. He is punctual and very quick to find the truth. His psychosis suggests a character which stands to morals, sharp judgment, and a very likable guy in general. John Travolta plays Jack out with sensitivity, profound genuity, and adroit intricacy. As the lead, the film rests well on his shoulders...and with the help from the rest of the fine cast as well.Sally is a naive young woman, full of choices and ambition. She is from a more darker side of history, doing odd jobs for money just to get by, and certainly has more morals than she would let on. She is a very nice and heartful person, but is also afraid of her life ending up wrong. This is where you can see a dark past, and the way Nancy Allen plays her out surely lets the audience know. Allen had passion for this role, and the role itself is not an easy role to fill, there are emotions discreet, and a lot of pain. However, Allen flourishes as she speaks with mannerisms that transcend any other role she portrayed. I learned to like Sally from the moment she opened up to the audience.A supporting turn from Dennis Franz, who is always a reliable actor, makes up for the perfect example of a good supporting role, albeit it offensive in the least.The film can much be compared to the Kennedy assassination, as a politician was killed, and the conspiracy theories were tossed and turned in the tabloids, who are seen in this film as one of the real enemies, but there are many more. One other thing this film proves is that there are Blow outs in the mind, as well as in the film. The more our two heroes find out, the more the art of this film comes clear, and their minds are toyed with, but we as an audience see this, as part of making this a terrific viewing experience. This film was not a success, as far as money goes, but this film is clearly one of De Palma's best efforts, right up there with Scarface and The Untouchables. It is a touching and central effort, with likable characters, a grandiose Pino Donaggio score one of the maestro's finest and an ending that will rock your mind. The political undertones are fully understood at the films end, which is something not seen at all today. This is a really good film to show to film classes, film-making classes, film appreciation classes, etc.All in all, one helluva viewing experience, and one that never gets old either, making it one of De Palma' finest hours.
"Banal story? Give me a break. I just watched "Snake Eyes" and "Mission to Mars" on DVD from beginning to end. They're very beautiful films. I think you missed a lot. All the critics ever talk about is the banality of my stories!" - Brian De Palma 2002 Do not treat De Palma's films too logically. He has one agenda, and that is to enable his camera to become multiple characters. His camera, deceives, lies, lusts, stalks and mocks. When it's not adopting a character's point of view, it's literally becoming a character of it's own. <more>
There's real intelligence behind some of his films, despite their B movie roots and surface cheese.Watch the jeep scene again. See how it begins with the camera suddenly changing stance. The music booms and everything becomes operatic. The scene itself plays out like a self contained mini-opera. Of course the whole sequence is illogical, but then one of De Palma's themes throughout his career has always been reconstructing truth. In "Snake Eyes" and "Black Dahlia" it's the truth of a murder. In "Mission Impossible" it's reconstructing the truth of a mission gone bad. In "Femme Fatale" it's reconstructing the truth of a heist. In this film it's reconstructing the truth of an assassination. But what makes De Palma interesting is that this constant theme of "finding the truth" clashes continusouly with his artistic style. He's a formalist who's entire filmography stresses the fakery or superficiality of film.On one hand he acknowledges the lie that is film his famous quote: "film is 24 lies per second" , whilst on the other, his character's constantly search for some objective truth. But back to the jeep scene. Notice how De Palma shifts to slow-motion to heighten the clues. Travolta crashes and we linger on the "Liberty or Death?" shop window as a plastic hang man slowly tips over. De Palma as artist and formalist has the power of deciding Travolta and Sally's fate. Like the end of "Femme Fatalle", he's asking his audience, teasing them, letting them know that his film isn't reality, and that only the artist as God has the power to decide the fate of characters. Do we let them die or do we let them live? He then inter-cuts this with Sally's conversation with the killer, which suddenly shifts from friendly to hostile. De Palma signifies this newfound danger by jump cutting from day to night. And so with Sally now in trouble, he literally resurrects Travolta, who of course climbs and climbs but still doesn't get there in time. Travolta's guilt and failure rings eternal as Sally's scream is immortalised in the final film-within-the-film. A film kills Sally and a film immortalises her death. A recorded sound blow out brings her into De Palma's world and a recorded sound her scream brings her out of it. There's a cinematic purity to Sally's life.9/10- Brilliant opening, brilliant ending and some memorable scenes in the middle. The virtuoso camera work doesn't touch "Snake Eyes" and the purposefully cheesy acting the porno within a film makes it clear that De Palma sees this as self conscious formalist film-making at times detracts. Still, this is nevertheless enjoyable and one of the more accessible De Palma films.
One of De Palma's most entertaining works: 9.5/10 (by Quinoa1984)
Blow Out runs with an idea and makes it work. Brian De Palma uses the idea from Blowup obsession over one real-time element involving murder , and transfuses it into his usual, dependable form of the suspense picture. He finds the right cast to take it through as well. This script could be taken in the wrong hands and made into lessor material, perhaps. But often it's not even the script that is as grabbing though it does, being De Palma in his prime, have its share of wit and sweetly honest moments as is the direction. This is a filmmaker very much in trusting with a specific <more>
storytelling style that suits the nature of the subject matter. You've got a protagonist thrust into a deceptive, shadowy kind of element, and because its a star in that role propelling it- alongside some 'choice' villains, it's never too unbelievable in its own sort of world.John Travolta in a role displaying a little more of his range than usual is a sound recorder for low-budget horror movies, and going over a particular crash into a river one night by a curious couple of subjects, the audio drives him into an obsession. But the story doesn't dwell fervently into it like Blowup did then again only Antonioni, or maybe Coppola with his The Coversation, could make it that deep into it , and in a way it doesn't need to. With Nancy Allen, a cute, talented actress, there's the other part of the story to drive it forth, as she plays the passenger in the car who may or may not know more than she'll tell, even to her rescuer Travolta. Then along the way we meet some shady people including Dennis Franz and John Lithgow's characters the latter especially, in a role un-like him but made all the more compelling for it . It leads to a climax that is one of De Palma's best as well.Blow Out doesn't kid its main audience, and thats where it finds its strengths. It's in a realm of the psychological, but it doesn't steep itself too much to become more of an experimental film like De Palma's earlier films. It also lacks some of the weaker qualities that have come in some of his later films i.e. a good deal of plausibility or lack of caring about the characters . It at times shows its gritty side i.e. Franz's scenes , and it also includes some great scenes between Travolta and Allen. Simply put, it's a well-done movie.
Jack Terri is a soundman for a B-movie studio. One night as he is out recording sounds for a film he sees an accident - a car swerves through a guard rail and into a river. Jack jumps in in effort to help and sees that the driver is dead, but he manages to save the passenger. He soon finds out that the driver was the current favorite in the presidential election and after listening to the recording he suspects that what happened was no accident.This is the type of movie many people call a rip-off as not only does it take an idea from a previous story and film 'Blow Up' it is one of <more>
DePalma's many Hitchcockian efforts. However, under his direction the film feels fresh and moves very well. It is 13 years before John Travolta made 'Pulp Fiction' but he was already a good lead actor. Dennis Franz also gives a good turn as a photographer who knows more than he is telling.However, the scene stealer, would have to be John Lithgow who stoically walks his way through the film as a ruthless killer who wants to remove Jack Terri for the evidence he has. Rarely is such a emotionless and callous role played out so well to such great effect.Then there is DePalma's direction which is the great thing that put all the good stuff together. He has a particular skill of blending shots/scenes without dissolves and that carries the movie is an interesting way. Using shadows, silhouettes, rotating camera shots he is truly a master in good form here. 9/10Rated R: some grisly violence, and profanity
Good scream from the streets of Philadelphia. (by Galina_movie_fan)
I was blown away by Brian DePalma's "Blow Out" 1981 , the Real American Classic from the 80th. Yes, of course, De Palma pays homage to both, "Blow Up" and "Conversation" but "Blow Out" is a vintage DePalma at his best, in his glory and brilliance. The story is great, packed with twists and turns and also lets us peek once again as in Body Double" at the B-movies making process. John Travolta is Jack Terri, a sound technician who rescues a girl Nancy Allen from a car that crashes into a river after a blow out. The man who drove the car did <more>
not survive and he happened to be the next presidential candidate. Jack soon realizes that it was not just a blow out but a murder, and he's got an evidence to prove it, the tape that he made on the bridge while recording the background noises for the movie. As good as the story is, it does not forget its characters, and they are memorable and multi-dimensional. The actors are terrific. It was the time when John Travolta was both cute without being smug and compelling. Nancy Allen as Sally, was sweet and heartbreaking, Dennis Franz's character, Manny Karp, the petty blackmailer who got more than he bargained for was fun to watch, and John Lithgow made such a chilling villain that Anthony Hopkins could've learned something from him. I did not even start on Vilmos Zsigmond's camera work. Only one word comes to mind - mesmerizing. The final chase sequence on the streets of Philadelphia during the celebration of the ringing of the Liberty Bell is as well staged and shut and as exiting as the similar climatic chase on Mount Rushmore in Hitchcock's "North By Northwest". The movie is perfectly balanced by the last scene and the hilarious opening scene mirroring each other but this time the scream is different. It IS a good scream that came from the streets of Philadelphia.
Did you hear that the sound of murder (by lost-in-limbo)
Brian De Palma's ''Blow Out'' starring John Travolta, Nancy Allen and John Lithgow would go down as my favourite film just ahead of "Causalities of War" and ''Dressed to Kill'' of his on-going filmography. Usually I find him to be an on-and-off director, and ''Blow Out'' was switched on. It's one of those presentations that doesn't just hold you there with its captivating sombre murder mystery similar to Blow-Up and 'The Conversation' relating to a political conspiracy, but also De Palma's showy technical <more>
side is nothing short than exquisitely striking. Well you might say that's the case for most of his work, however on this occasion its extremely well controlled to balance the story and it isn't so much the peering camera and sharp editing although still commendably evident and how can you go wrong with split frames but the ingenious use of sound effects and the ironic nature of our main protagonist being an audio technician for b-grade horror movies which within the building he works bestows some cool horror posters that fans will surely pick up on .The layered story has that old-fashion noir quality, with the momentum building upon mood and suspense constructing illuminating atmospherics and consisting of fitting performances. While the brooding plot screws around with its webby developments and taut tension, never does the suspiciously tactical script entirely pick it apart with any sort of depth or rationality. In the end its quite basic. However this made the harrowing impact of the film's conclusion even more lasting, as the emotional brunt came from De Palma's intensely slick visual work like the stirring slow-motion climax with Pino Donaggio's harrowing score which holds a delightfully crisp and variable arrangement throughout . It's top drawer in De Palma's illustratively intimate details oozing with colour, tones and shades with it being served by some beautifully projected expressive photography and a lingering nasty current. An excellent John Travolta brings a convicted temperament to the lead and a bubbling Nancy Allen adds a perky injection. A precisely scheming performance by John Lithgow is truly menacing. Also in support is Denis Franz.An enjoyably stylish, if simple thriller.
Brian DePalma was at the height of his film career when he undertook the direction of "Blow Out". Some comments to this forum have compared it to other distinguished films like Francis Ford Coppola's "The Conversation" and Michaelangelo Antonioni's "Blow Up", a comparison that seems to make sense, in a way, but Mr. DePalma, who wrote his own screen play, is an intelligent man who didn't need to copy anything from those masters of the cinema.In fact, "Blow Out" has kept its impact as a thriller mystery with its political overtones as it mixes <more>
crime with the lives of influential people that might give viewers a point of reference between the movie and actual historical facts.We are given an introduction to Jack's line of work as we watch scenes of the porno film that he is working on as a sound technician. The only thing that is needed is a real scream which the many actresses, either on the film itself, or being auditioned, can't produce. Whatever comes out of those women's throats are wimpy sounds, not a horror yell for help.Jack, who is out one night recording sounds for future ventures, captures the shot that causes the "blow out" and makes a car plunge into a creek. Jack abandons everything and jumps to rescue whoever he can save. He is only successful in bringing Sally out of the water. This is the beginning of Jack's involvement into the mystery behind the actual fact.Mr. DePalma's thriller is visually stylish. He photographed the movie in Philadelphia. The film has the excellent Vilmos Zsigmond behind the camera. The atmospheric music by Pino Donoggio serves the movie well.John Travolta's career was in decline when he made this movie. He gives a terrific performance as the sound effect man who stumbles in a conspiracy to eliminate the witnesses to the accident. Nancy Allen is not as effective as Sally, the young prostitute at the center of the story. Being married to the director might have helped her land the part, which with some other actress might have paid off better. John Lighgow is perfectly creepy as Burke, the evil man. Dennis Franz has the pivotal part of Karp, the man who was able to photograph the whole incident."Blow Out" is a must see for all Brian DePalma's admirers.
A fantastically stylish film, with scenes that are still wonderful to watch today. (by Rich B)
The opening of this movie must rival Bullit as cool openings go. Wonderfully shot throughout, and even though you can see how dated the film is just by Travoltas' and Allens' hair and dress sense, it doesn't affect the quality. The story is competent, but what makes the film is DePalma's treatment. The quiet scenes and the complete focus on noise, other than that of the characters talking. Visuals and backgrounds start this movie and run all the way through the major scenes, finally closing it. This is an excellent thriller, and many modern films of this genre should take <more>
Wonderfully written and directed story... (by dwpollar)
1st watched 10/03/2005 - 8 out of 10 Dir-Brian De Palma : Wonderfully written and directed story by Brian De Palma about a sound man who records an accident we think at a bridge while doing his job of recording sounds for a recent movie gig. We find out the accident involved a Governor who happened to be running for President of the United States and the title character Jack played by John Travolta just happened to rescue another person from the vehicle who was a lady of the night played by Nancy Allen and the Governor dies. What ensues is a major attempt to cover up some of the facts <more>
while Jack tries to piece together what he heard and saw for evidence of the foul play. He believes he heard a shot that blew out the tire of the vehicle and with an amateur photograph's pictures rigs together a pretty convincing portrait of the truth. Travolta is great in what I consider one of his best acting stints but Nancy Allen is tolerable at best. This is the only real negative to this otherwise well made and pieced together thriller that works to the very end and deserved more recognition than it received. I think everyone audiences and critics alike expected something different from someone who was known mainly for horror movies before this but this movie started a string of well-received movies coming from him and is definitely one