Of all the movies made about movies, no one’s ever made one quite like this. Make no mistake: Blow Out does reference some of the greats– the most obvious is the first scene mirroring the shower scream in Psycho– but unlike other films about films, Blow Out focuses on the use of sound. After all, it’s only through sound technician Jack Terry’s craft that he gets pulled into the conspiracy himself, with a recording of a gunshot revealing an assassination under the guise of a simple car accident. Echoing the post-Watergate America’s concerns over surveillance, the investigation he undertakes, as well as the justifiable paranoia over his work, leads him to use his new medium as his one weapon. As he does so, Blow Out cleverly demonstrates how movies have both found the naked truth and dressed it up for its own purposes.
While recording sound effects for a slasher flick, Jack Terry stumbles upon a real-life horror: a car careening off a bridge and into a river. Jack jumps into the water and fishes out Sally from the car, but the other passenger is already dead — a governor intending to run for president. As Jack does some investigating of his tapes, and starts a perilous romance with Sally, he enters a tangled web of conspiracy that might leave him dead.
While recording sound effects for a slasher flick, Jack Terry stumbles upon a real-life horror: a car careening off a bridge and into a river. Jack jumps into the water and fishes out Sally from the car, but the other passenger is already dead — a governor intending to run for president. As Jack does some investigating of his tapes, and starts a perilous romance with Sally, he enters a tangled web of conspiracy that might leave him dead.
