"Michelangelo Antonioni's Blow-Up opened in America two months before I became a film critic, and colored my first years on the job with its lingering influence. … Over three days recently, I revisited Blow-Up in a shot-by-shot analysis. Freed from the hype and fashion, it emerges as a great film, if not the one we thought we were seeing at the time. … Whether there was a murder isn't the point. The film is about a character mired in ennui and distaste, who is roused by his photographs into something approaching passion. As Thomas moves between his darkroom and the blowups, we recognize the bliss of an artist lost in what behaviorists call the Process; he is not thinking now about money, ambition or his own nasty personality defects, but is lost in his craft. His mind, hands and imagination work in rhythmic sync. He is happy. Later, all his gains are taken back.... Blow-Up audaciously involves us in a plot that promises the solution to a mystery, and leaves us lacking even its players."