As described previously, I’ve been exploring a new medium, the “filmerick” (limericks to summarize great films). Over the weekend my daughter and I were fortunate to catch a special screening of Blow-Up at the Harvard Film Archive, and here’s what I came up with:

BLOW-UP (Michelangelo Antonioni, 1966)
A portrait of visual glories,
And behavior abhorrent to Tories,
Signor Antonioni,
has certainly shown he’s
proficient in shaggy-dog stories.

The film itself is great, of course: a wonderful, touchingly sad meander through 1960s London, ushering in what would later be recognized as a golden age of the cinema of urban alienation and the search for meaning amid the chaos of modern life.

I was especially moved by how beautifully Antonioni filmed both the perfectly balanced “design world” (fashion shoots, bohemian artist “live-work space”) and the eclectic clutter of “real London” (crowds and demonstrations, junk shops, construction sites). Both draw you in – part of the mystery implied in every shot – and one leaves the film with an appreciation for the eye’s uncanny ability to frame and capture the art all around us. (Although whether we can every truly grasp and understand what we capture is another story altogether…)