Blow Out (1981) Review

I wrote this review a few years ago when I was blazing through movies like a madman with a death wish. Blow Out (1981) stood out and really showed me who Brian De Palma was as a director. Up until that point, I had only seen Scarface (1983) and The Untouchables (1987), but this one revealed his true love: suspense. If you're interested in how movies are made or conspiracy theories, this must be on your watchlist because it’s a mash-up of both. One of my film professors didn’t like this movie. I should email him and ask why.

Uncovering a conspiracy theory is a lot like making a movie—or at least, director Brian De Palma thinks so. It’s extremely satisfying to watch our determined protagonist sync up blurry photographs with the audio he coincidentally recorded at the scene of the crime. John Travolta plays Jack Terry, a sound effects technician for B-horror movies in Philadelphia, who accidentally gets involved in a conspiracy cover-up. One night, while recording ambient sound for a slasher movie, Jack is minding his own business when a car drives off the road and into the river. He dives in and manages to save the woman inside but not the man driving. At the hospital, he discovers the man was a governor and presidential candidate, and that Sally (played by Nancy Allen, De Palma’s wife at the time) was his lady of the night. Jack leaves without informing anyone about what happened, bringing Sally with him. He becomes intrigued by her but starts to suspect the car accident was actually an assassination after listening to his audio recording and noticing a gunshot. Could one of the car’s tires have been shot out? Hence the title.

The rest of the movie alternates between the perpetrator who planned the assassination (played by comedic character actor John Lithgow, who also voiced Lord Farquaad in Shrek) and John Travolta and Nancy Allen as they try to expose the truth to the public. The film doesn’t attempt to provide an emotional or psychological motive for Lithgow’s character beyond his desire to ensure no one uncovers the truth. His plan involves murdering several women who resemble Nancy Allen to make it look like the work of a serial killer. We also learn that Nancy Allen’s character was partially in on the setup from the beginning, working alongside a sleazy but humorous tabloid photographer who aimed to catch the governor with his pants down. Oh, and there’s a car chase scene, capped off with a grand finale and fireworks. I didn’t describe it very elegantly, but the film features many visually striking moments. De Palma is a director who loves grand finales, even if the buildup doesn’t always completely earn them.

This film was inspired by the assassination of President John F. Kennedy, which spawned numerous conspiracy theories and whispers of closeted affairs. There’s a definite sense of obsession and paranoia in John Travolta’s character, as well as in the tone of the movie. The difference is that, as an audience, we know the so-called truth. But in everyday life, is there a more complicated truth lurking beneath the surface, waiting to break free? Potentially, yes. However, even if coincidences are not just coincidences, there always seems to be a way to cover everything up.

Blowout is a film that might frustrate people who prefer tightly knit, polished stories with every plot hole meticulously filled. I sometimes fall into this category, so during my initial viewing, the movie occasionally lost my attention. It’s a film far more focused on style than on substance, though it does feature some colorful side characters and energetic performances. Travolta and Allen have electric chemistry, but I wonder if Lithgow was the right choice for the role. I don’t think his bright smile and goofy voice match the film’s tone, though he’s a talented actor who delivered a dedicated performance. What made me reconsider this movie was its final image. Most films use their opening and closing images to mirror each other, and Blowout has one of the best—and possibly most thought-provoking—final images I’ve seen in a long time. If nothing else, it’ll give you a modest laugh.