All Anime Applications Games Movies Music TV shows Other

Blow Out [1981] Brian De Palma

    Seeders : 1      Leechers : 2

Note :

Please Update (Trackers Info) Before Start "Blow Out [1981] Brian De Palma" Torrent Downloading to See Updated Seeders And Leechers for Batter Torrent Download Speed.

Trackers List

Torrent File Content (6 files)

Description

Blow Out (1981) 



http://www.imdb.com/title/tt0082085/



Blow Out is a 1981 thriller film, written and directed by Brian De Palma. The film stars John Travolta as Jack Terry, a
movie sound effects technician from Philadelphia who, while recording sounds for a low-budget horror film,
serendipitously captures audio evidence of a possible assassination. The supporting cast includes Nancy Allen, John
Lithgow, and Dennis Franz.





 John Travolta ...  Jack Terry 

 Nancy Allen ...  Sally 

 John Lithgow ...  Burke 

 Dennis Franz ...  Manny Karp 

 Peter Boyden ...  Sam 

 Curt May ...  Donahue 

 John Aquino ...  Det. Mackey 

 John McMartin ...  Lawrence Henry 

 Deborah Everton ...  Hooker 

 J. Patrick McNamara ...  Detective at hospital 

 Missy Cleveland ...  Coed lover (as Amanda Cleveland) 

 Roger Wilson ...  Coed lover 

 Lori-Nan Engler ...  Sue 

 Cindy Manion ...  Dancing coed 

 Missy O'Shea ...  Dancing coed 





After completing Dressed to Kill, De Palma was considering several projects, including Acts of Vengeance (later produced
for HBO starring Charles Bronson and Ellen Burstyn), Flashdance, and a script of his own titled Personal Effects. The
story outline for Personal Effects was similar to what would become Blow Out, but was set in Canada.



De Palma scripted and shot Blow Out in Philadelphia, Pennsylvania, his home town. The film's $18 million budget made
Blow Out De Plama's biggest budgeted film since The Fury. De Palma considered Al Pacino for the role of Jack Terry, but
ultimately chose John Travolta. At least one studio executive suggested De Palma also cast Travolta's Grease co-star
Olivia Newton-John in the role of Sally; De Palma refused.[citation needed] Travolta lobbied De Palma to cast Nancy
Allen for the role (the three had previously worked together on Carrie); De Palma hesitated at first—he and Allen
were married at the time and did not want Allen to have a reputation for only working in her husband's
pictures—but ultimately agreed. In addition to Travolta and Allen, De Palma filled Blow Out 's cast and crew with
a number of his frequent collaborators: Denis Franz (Dressed to Kill, The Fury); John Lithgow (Obsession);
cinematographer Vilmos Zsigmond (Obsession); editor Paul Hirsch (Hi, Mom!, Sisters, Phantom of the Paradise, Obsession,
Carrie, The Fury]; and composer Pino Donaggio (Carrie, Home Movies, Dressed to Kill).



During the editing process, two reels of footage from the Liberty Parade sequence were stolen and never recovered; the
scenes were reshot with insurance money at a cost of $750,000. Because Zsigmond was no longer available,
László Kovács lensed the reshot sequences.





Thematically, Blow Out almost "exclusively concern[s] the mechanics of movie making" with a "total,
complete and utter preoccupation with film itself as a medium in which ... style really is content." In numerous
scenes, the film depicts the interaction of sound and images, the manner in which the two are joined together, and
methods in which they are re-edited, remixed, and rearranged to reveal new truths or the lack of any objective truth.



As with several other De Palma films, Blow Out explores the power of guilt; both Jack and Sally are motivated to help
right their past wrongs, both with tragic consequences. De Palma also revisits the theme of voyeurism, a recurring theme
in much of his previous work. Jack exhibits elements of a peeping tom, but one who works with sound instead of image.



Blow Out incorporates multiple allusions both to other films and to historical events. Its protagonist's obsessive
reconstruction of a sound recording to uncover a possible murder recall both Michelangelo Antonioni's film Blowup and
Francis Ford Coppola's The Conversation. The film alludes to elements of the Watergate scandal and the JFK
assassination. The film also recalls elements of the Chappaquiddick incident, although De Palma intentionally tried to
downplay the similarities.



De Palma also explicitly references two of his previous projects. At one point in the film, Dennis Franz watches De
Palma's film Murder a la Mod on television. (Originally, the character was to watch Coppola's Dementia 13, but Roger
Corman demanded too much for the rights.) A flashback where Travolta recalls an incident where his work got a police
informant killed was also taken from an abandoned project, Prince of the City, which was ultimately directed by Sidney
Lumet.





Blow Out opened to generally positive reviews from critics, including several ecstatic ones. In The New Yorker, Pauline
Kael gave the film one of her few unconditional raves:"De Palma has sprung to the place that Robert Altman achieved
with films such as McCabe and Mrs. Miller and Nashville and that Francis Ford Coppola reached with the two Godfather
films—that is, to the place where genre is transcended and what we're moved by is an artist's vision.... It's a
great movie." Roger Ebert's four-star review in the Chicago Sun-Times noted that Blow Out "is inhabited by a
real cinematic intelligence. The audience isn't condescended to.... We share the excitement of figuring out how things
develop and unfold, when so often the movies only need us as passive witnesses."



Despite positive reviews, the film floundered at the box office due to terrible word of mouth about its bleak ending.
Blow Out returned approximately $8 million at the box office.



Blow Out's public reputation, however, has grown considerably in the years following its release. As a "movie about
making movies," it has earned a natural audience with subsequent generations of cineastes. In particular, Quentin
Tarantino has consistently praised the movie, listing it alongside Rio Bravo and Taxi Driver as one of his three
favorite films. (In homage, Tarantino used the music cue "Sally and Jack" from Pino Donaggio's score in Death
Proof, Tarantino's segment of Grindhouse.



Like all great art, Blow Out reflects the time period in which it was crafted. Writing for Slant Magazine in 2006,
critic Paul Schrodt provides some of that historical context in his review:



"America had fallen into a deep funk by 1981—the year of Blow Out's release and Ronald Reagan's presidential
inauguration. Still hung over from the Vietnam War and dealing with inflation on the brink of recession, the public's
election of Reagan, on a platform of optimism, suggested a desire to move on and leave the past behind. 



De Palma, as anti-establishment as ever, suggests this in itself is another lie. When Jack Terry (John Travolta)
inadvertently records the assassination of a presidential candidate, everyone politely asks him to leave his conspiracy
to himself. But he can't let it go....Everyone else would like to believe it was just "a freak accident," so
the nation can quickly heal again. (Maybe De Palma was prescient: Five years later Reagan would secretly and illegally
sell arms to Iran in order to free U.S. troops, only to then deny he ever knew about the deal, retaining his bright
image.)" 



In other words, what candidate Reagan was "selling" the electorate in 1980s was a "new morning in
America" (post Carter-malaise) when, in fact, nothing really changed at all. As I wrote in my review of Body
Double, Ronald Reagan was the all-time champion of image-making, an affable Hollywood actor skilled at saying one thing
and doing another thing all together. In his inauguration, Reagan stated boldly that "Government is the
problem," but during his two terms, Reagan actually grew the government dramatically. Reagan's sunny demeanor also
involved a "New Patriotism," and "New Confidence" in America and its institutions, and that 1980s
trend is the very image that De Palma repeatedly and successfully undercuts in Blow Out. The film is dominated by
stirring images of America and American patriotism...but these images are the background for horrible, monstrous events.
The symbols of American freedom are mocked, because in this setting, they are empty representations.



For instance, the finale of Blow Out is set against the backdrop of "The Liberty Bell Jubilee," the first
instance in a century that the Liberty Bell has been rung. All too quickly, this patriotic parade and celebration of
American history becomes an opportunity for the psychotic Burke (Lithgow) to stalk and murder Sally.



Ironically, this vicious killer views himself as a patriot, and it is strongly implied that he serves at the pleasure of
the President (the man, ultimately, who would benefit from the death of McRyan). How do we know? Well for starters,
Burke wears a Jubilee Button that reads "I Love Liberty" throughout the film's final sequence. It's not
difficult to extrapolate that Burke is a fictionalized version of zealous, right-wing thugs such as G. Gordon Liddy, the
enthusiastic criminal who was convicted for conspiracy, burglary and illegal wiretapping for his supervisory role as a
Watergate "plumber" during the Nixon Era.



Liddy's mission was to keep Nixon in office, and Burke serves the same function in this fictional tale, offing the
President's competition before he can prove dangerous to political continuity. Again, in real life, Giddy (who served
eight years in prison for his crimes), also considered murder (of Jack Anderson) -- at least according to his own
autobiography -- to preserve Nixon's hold on power. (Liddy, G Gordon, Will. St. Martins Press., 1996) pp. 208–211.




At the conclusion of Blow Out, Burke drags Sally up the steps of a grand building as glorious fireworks explode in the
heavens above. Then, he strangles her to death against the backdrop of a colossal American flag. 





There can be no question about the significance of these particular images. As Sally dies before Old Glory, the red,
white and blue lights of the fireworks suddenly turn lurid, sleazy and ugly...soiled by those who kill in America's
name. By positioning Sally's death against these powerful and patriotic symbols, De Palma successfully makes the point
that the "reality" of America is very different from the glorious imagery that dominates her landscape, and
inspires such fervent nationalism.



In attempting to rescue Sally, Jack accidentally runs his jeep into a storefront window that is decorated with the
American legend, "Liberty or Death." This is, again, a literalization of Jack's agenda. He is in search of
truth...or he will most certainly die, at the hands of a corrupt government. When Jack crashes through the transparent
glass window housing that legend, he is literally crashing through the illusion of American liberty.



Even Burke's murder of a hooker in a train station bathroom is framed deliberately so as to feature a message about
freedom and liberty. The most prominent object in one high-angle shot of a bathroom stall is actually a tampon dispenser
decorated with the brand name "Stayfree." "Stay Free?" How can people stay free if the truth is
hidden?



In Blow Out's most ironic and mocking use of iconic American imagery, Jack arrives too late to save Sally from Burke,
but De Palma's camera triumphantly spins around the tragic duo nonetheless. As an "average" citizen dies below
so the powerful may continue to "serve," in the heavens above fireworks explode with orgasmic glee and
abandon. 





The illusion of freedom and liberty are alive for all to see in the sky, even if Sally (and the truth...) die right
here; their ends acknowledged only by Jack.



Sally's personal story in Blow Out also serves as a metaphor for disillusionment and disenfranchisement in America.
Sally begins her journey as a disinterested observer, just minding her own business trying to make a buck any way she
can. She doesn't even watch the news "because it is too depressing." When Sally finally does get involved in
the "political process," in a quest with Jack to reveal the truth about this conspiracy, what happens? She is
brutally murdered. 





In this case, a murdered innocent in a movie may very well represent a disappointed, disillusioned electorate in real
life. Most people don't get involved in politics, and those activists who do so inevitably face disappointment because
things don't seem to change, or get any better. The parties in power may alternate, but the entrenched interests don't.
Killing Sally in Blow Out is, essentially, killing hope in the democratic process; it's killing political involvement.
From a certain perspective, there are no reak "good guys" in Blow Out because even the guy in "search of
the truth," -- Jack himself -- exploits the simple-minded Sally (representing the American electorate) for his own
purpose. He ruthlessly uses her for his ideological agenda...and she ends up dead, even though that agenda was
inarguably noble.

Related torrents

Torrent Name	Added	Size	Seed	Leech	Health
Blow Out (Brian de Palma) French dvdrip xvid	1 Year+ - in Movies	701.97 MB	0	0
Blow Out (1981) 1080p BluRay H264 DolbyD 5 1 [nickarad]	1 Year+ - in Movies	3.31 GB	8	1
[DivX - ITA] Oggi sposi - di Brian De Palma con Robert De Niro & Jill Clayburgh ..	1 Year+ - in Movies	886.75 MB	0	1
SCARFACE - Brian de Palma/Al Pacino - DVDRip.XviD.FRENCH by GWAEIN	1 Year+ - in Movies	699.68 MB	8	4
Blow Out 1981 2160p UHD BluRay x265 10bit HDR DDP2 0-RARBG	1 Year+ - in Movies	6.23 GB	0	1

Note :

Feel free to post any comments about this torrent, including links to Subtitle, samples, screenshots, or any other relevant information. Watch Blow Out [1981] Brian De Palma Full Movie Online Free, Like 123Movies, FMovies, Putlocker, Netflix or Direct Download Torrent Blow Out [1981] Brian De Palma via Magnet Download Link.

Comments (0 Comments)

Please login or create a FREE account to post comments