MovieChat Forums > Blow-Up (1967) Discussion > Great 1966 London period piece/time caps...

Great 1966 London period piece/time capsule


Regardless of how one responds to the ambivalent narrative, the beauty of this film is that it really captures that third-quater-of-the-'60s zeitgeist (and no place is more utterly mid-'60s than London) as few films ever manage to do.

Something similar could be said for A MAN AND A WOMAN (although that's, y'know, France).

Not too many films, including films from the '60s, manage to organically tap into a vein that truly evokes its era --- most movies are just too over-produced to do so.

--

Non-sequiturs are delicious.

reply

Things changed so quickly in the sixties, it was as if each year, even parts of each year, had a distinct look. This film is a time capsule not merely of "third-quarter of the sixties" London but of 1966 in specific. By then The Beatles had been huge for three years, the mod look had taken over, but longer hair and the more specific hippie look had not yet taken over. It is amazing to me how the look seems, as here presented in static context, as if a snapshot of a specific moment, and with an internal coherence, when in actual terms it was a transitional period that was, in terms of its own coherence and specifics, rather short lived. If filmed even a year after, or a year before, the look would have been rather different.

reply

Things changed so quickly in the sixties, it was as if each year, even parts of each year, had a distinct look. This film is a time capsule not merely of "third-quarter of the sixties" London but of 1966 in specific. By then The Beatles had been huge for three years, the mod look had taken over, but longer hair and the more specific hippie look had not yet taken over. It is amazing to me how the look seems, as here presented in static context, as if a snapshot of a specific moment, and with an internal coherence, when in actual terms it was a transitional period that was, in terms of its own coherence and specifics, rather short lived. If filmed even a year after, or a year before, the look would have been rather different.


Yes, precisely right. It really is a photograph of 1966.

--

Non-sequiturs are delicious.

reply

I love the feel of the film as much as anything else. It is very much of the sixties, but in a way it speaks to all times, what with the smug/interesting/busy/self involved protagonist finding out his assured understandings and ways do not serve him with such an outside the box experience as coming across a murder.

I enjoy it more and more every viewing.

And, perhaps for all the above reasons, I find the movie weirdly soothing.

--
LBJ's mistress on JFK:
https://www.youtube.com/watch?v=WcXeutDmuRA


reply

"I find the movie weirdly soothing. "

Hm. Can't say the same. The only thing soothing about it to me is that I did not have the experience Thomas had. I think it must have been profoundly unsettling to him. even little details like his encounter late in the film with Verushka at the party, after their erotic photo shoot earlier and her saying she was going to Paris, and her answer to his question. Or the nature of the relationship between his artist neighbor and his wife.

reply

I agree. The costumes and art-direction really are a perfect demonstration of 60's England.

reply

And the mood, the under-produced quality about it.

--
LBJ's mistress on JFK:
https://www.youtube.com/watch?v=WcXeutDmuRA


reply

It's quite fitting that the Yardbirds appear in this, since nothing screams London 1966 like their Over Under Sideways Down album. After watching this movie i always want to get out my Yardbirds cds. And Small Faces as well.

reply

Could I add François Truffaut's master piece "La peau douce" (The Soft Skin) to these two films?

I love "Un homme et une femme". It's timeless.

Did you watch the sequel from 1986:

http://www.imdb.com/title/tt0092130/combined

reply