Reviews

Although released in 1966, BLOWUP is remarkably pertinent today, nearly 40 years later. Its theme of reality/illusion, with people seeing or not seeing what they want not to see, is still pertinent in this era of "missing" weapons of mass destruction.

Also, the movie's jaded view of a society distracted from reality by random sex, drugs and immediate sensation is still sooooooo true today.

The Mod fashions for the photo shoots look bizarre to us now -- but you'll see equally bizarre fashions in VOGUE, at least the European issues. And what's wrong with David Hemmings' white jeans?

Director George Cukor's "Gaslight" is superior to the earlier British film. Under Cukor's direction, the excellent acting, cinematography, art direction, and editing create a psychological thriller much more suspenseful and atmospheric. Ingrid Bergman's remarkable performance of a loving vulnerable woman descending into madness is still astonishing 60 years later. The screenplay embellishes the original story, but gives it more sense. The only carp may be turning the Scotland Yard detective into a romantic interest -- a complaint that might be more easily dismissed if actor Joseph Cotton didn't sound so American. But Charles Boyer is probably perfect as the duplicitous husband, with his quick shifts from feigned charm to cruelty. In comparison, the 1940 British version seems clunky, more contrived, with less psychological depth. Although that earlier film has its interest, the more haunting 1944 version shows the Hollywood studio system at its best.

Kate Nelligan was brilliant on stage in the leading role of Susan Traherne. She originated the part in the British stage production and then repeated it on Broadway several years later. Nelligan projected great strength early on, so that when her character began falling apart, it was all the more devastating. So it's a shame she didn't get to play the part on screen.

Then again, maybe it's just as well. The movie has fabulous production design and an excellent supporting cast, but it fills in too much for the audience, making things obvious where more ambiguity would have made audiences think more.

Meryl Streep wasn't *bad* in the movie version, but she doesn't "fit," in my mind. That said, she was excellent when she worked again with PLENTY director Fred Schepisi in A CRY IN THE DARK.