Blow Out

Superior entry on De Palma's CV. Brian De Palma has always gotten a bad rap for his penchant for essaying his heroes and favourite thrillers, what often gets forgotten is just how great he could be in crafting said thrillers. Blow Out has John Travolta as a sound engineer for low budget horror movies, who while out recording sounds one night witnesses a car crash and dives into the river to rescue the call girl trapped in the back seat (Nancy Allen). Upon listening back to the footage of the crash, he hears two noises which point to a gun shot being fired at the car. So with the dead man in the car turning out to be a big political mover, he quickly finds himself spun into a web of intrigue, peril, paranoia and conspiracies. Can he and the girl stay alive long enough to solve the case? Blow Out finds De Palma at the top of his game, blending the twisty plot dynamics with virtuoso technical smarts. A number of scenes are striking, both visually and in execution and the garnering of acting performances. Pino Donaggio provides an unforgettable music score to marry up to the layers of sub-plots folding together, and cinematographer Vilmos Zsigmond sharpens the primary colours (pic is awash with lurid pinks and purples - true neo-noir style) to give the story a Giallo like sheen that runs concurrent with the emotional states of the major players. A sprawling and bustling Philadelphia plays host to a conspiracy sandwich, with a corking side order of the film making process. Sometimes bleak and complex (how great it is to find a true noir finale), but never over stuffed, Blow Out is both thrilling and smart, while Travolta has never been better and John Lithgow is tailor made as the unstoppable crack-pot unleashed into our two protagonists' world. 9/10