Kennedy , which debunked the Warren Commission's claims of a lone gunman and a kill shot from the rear. Blow-Up also charts a crisis, but its central character is now a solo young man, on-screen for nearly the whole film, whose confident and bullying relation to the world begins to crumble when he realizes that his camera has recorded something disturbing of which he was unaware. The photographer lives next door to an abstract expressionist painter, Bill John Castle , and his girlfriend, Patricia Sarah Miles , to whom the photographer is attracted and who seems to return his feelings. Some of them are seen in the pictures the photographer shows Ron in his mock-up photo book, in reality taken by Don McCullin, then age thirty, a documentary photographer who was soon to become one of the best-known war photographers of his generation. Those that aren't, are still part of the fun. There is also an echo in Blow-Up of an article Antonioni had written in , describing a beach scene he had witnessed in Nice years earlier. They occur throughout the world, but are particuarly common at midnight movie festivals and in video stores' cult sections, they are especially frequent at that beloved and dying institution, the drive-in. The body of the victim, which the photographer sees and touches when he returns to the park at night, lit ostensibly by an eerie and illegible neon sign which Antonioni had specially constructed for the film , has disappeared by the next morning, leaving only grass. In , he read a magazine article by Francis Wyndham about three new London photographers of working-class origin, and he hatched the idea for a film in which one of them, David Bailey, would play himself. Not only did he go on to enjoy a jet-set life as her friend and confidant -- preserving unguarded moments between the violet-eyed beauty and Richard Burton as they traveled the world -- but Bozzacchi also became an internationally renowned photographer and shot some of the biggest celebrities of the s and s. Even film director Ingmar Bergman , who generally disliked Antonioni, acknowledged its significance: There is also an allusion to the way the various amateur films and photographs recording John F. The former elicits significance from things that need to be seen, while the latter does so from those already seen. Blow-Up is indeed about photographic images and the elusiveness of the real, but it is also an exhilarating journey through the London scene of the midsixties—its youth culture, its fashions, its young professionals—and a mystery story that draws us in but offers no solution. He trusts their intelligence. Note that we never heard a gunshot in the park; another clue that reality can be skewed. On that score, no comment is needed.