With a film like Blow Out it is very easy to see why comparisons to Hitchcock were made throughout De Palma’s career. A fantastic thriller that makes unique use of camera angles, framing, shots and the all important sound aspect of film.

John Travolta headlines as Jack a soundman for low-budget horror movies who is often on the hunt for new sounds to compliment the images on screen. When he is out recording some wind and ambient evening sounds, he is witness to what looks like an accident that claims the life of a presidential hopeful and almost takes the life of Sally (Nancy Allen), a young woman paid to put the candidate in an embarrassing and compromising situation.

As Jack replays the sound over and over, he becomes increasingly convinced that the tire suffered a blow out from a gun shot, it was an assassination. But no one will believe him, except for those that did it, and are no eager to discredit him and silence him.

Leading that charge is John Lithgow’s Burke, a psychotic asset that is also committing sex crimes around the city. He’s determined to silence Jack and Sally, and the tension gets ratcheted up by the fantastic camera work and the perfect sound scape that brings the film to life.

Travolta is wonderfully cast here, and it’s great seeing him with his Carrie co-star Nancy Allen. Lithgow plays Burke with a subtle unhinged nature, and Dennis Franz plays a scummy photographer who uses Sally to make some extra money in blackmail schemes.

De Palma proves once again that he is a master of his craft, and Blow Out is nothing short of a Hitchcockian masterpiece. I remember the first time I saw it, and once again, it was one of the films I wasn’t in the place to appreciate it, I was still getting into my film education, and was hoping for more of a fast-paced chase kind of film.

Happily, I knew it was time for a revisit, and was absolutely wowed by the film, the performances, pacing, and every bit of nuance De Palma imbued into the film. Travolta is just fantastic in this film, and while I grew up with him in Welcome Back, Kotter and Grease, and loved his comeback with Pulp Fiction, I think this may be one of my favorite performances from him. There’s a desperation and determination to his character, and he brings that and the professional aspect of his character’s art, sound and sound design, to vivid life.

There’s some great imagery around America, traitors and conspiracy, and it all works within the context of the film, I loved this film. It’s beautifully shot, lurid but lush, tense, and so well-crafted. Check it out.