Archive for September 30th, 2010

 Copyright © 2010 by James Clark

      There is a moment, in the middle of Blow-Up (1966), which seems the right starting point for us. A busy young commercial photographer and Londoner-about-town, “Thomas,” pores over reams of negatives covering an impromptu shoot in a park. That bit of seizing the moment had begun to take on a life of its own, insofar as what had been seized was (soon-to-be-apparently) an act of murder. Thomas had been impressed by a woman’s serpentine determination to recover those vignettes, some of the frames of which featured her and what appeared to be a lover. Now rid of her, he quickly moves toward discovery of what great importance he has engaged. And, to assist his enlarging the special revelations, he comes up with a magnifying glass of major proportions. As he works with it, his face frozen in anticipation, we have to think of Sherlock Holmes. We almost reprove ourselves for such an incongruity, Thomas (in spite of his Victorian name) being the epicenter itself of modernity. (To take one instance, his studio/home base is the envy of all those who would be cool, an industrial behemoth on a grotty street, flashing its not-for-the-faint-of-heart grungy, coal era struts, but sprouting an apotheosis of just-in, top-of-the-line commercial and residential appointments—spare, metallic and glassy—punching out features like sliding doors in candy colors.) (more…)

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