In , "Blade Runner" set the standard for artistic design and special effects, primarily through its imaginative vision of a near future set in global super cities. Far less of human life in such cities can be seen in the new film, in part because environmental pollution and nuclear catastrophes have wrapped the earth in an impenetrable fog. Harrison Ford was at the pinnacle of his career in The two have to flee side-by-side more than once in the new film.
Gosling most recently showed off his acting chops as a sensitive musician in the worldwide hit "La La Land. Over the past years, many experts and film connoisseurs warned against a "Blade Runner" sequel.
Hollywood's attempts at new film installments often ended up as artistic shipwrecks. But the new "Blade Runner" is anything but the typical, heartless sequel spawned by the commercial machinery of Hollywood's biggest studios. It qualifies as a singular artistic cinematic work.
The success of "Blade Runner" as a unified artistic work is due in no small part to the film's convincing ensemble of actors. As the doubtful, brooding and self-questioning replicant hunter Deckard, lead actor Harrison Ford gives one of the best performances of his career. And actress Sean Young plays the greatest role of her life as the sad and unsettlingly beautiful replicant. The melancholic love story that develops between Deckard and Rachael adds a melodramatic layer to the science fiction film that is primarily carried by its masterfully staged action scenes.
Ridley Scott magnificently unites action and love, making each unimaginable without the other. This also gives "Blade Runner" its inimitable aura. The film score by Greek electro-pioneer Vangelis also contributes significantly to the timeless feeling of "Blade Runner"; 35 later, the movie hardly seems to have aged at all.
The Retrospective section of the 67th Berlin International Film Festival is dedicated to one of the most visually stunning genres: science fiction, with films showcasing imaginary worlds in an imperfect future. Visit the new DW website Take a look at the beta version of dw. Go to the new dw. More info OK. Wrong language? Change it here DW. COM has chosen English as your language setting. COM in 30 languages. Deutsche Welle. But what makes it a masterpiece? There is the Blade Runner that was released into theaters in , which the studio forced Ridley Scott to change by adding a notoriously terrible Harrison Ford voice over and switching the ending entirely so that the main characters drove away into the mountains in bliss using b-roll from The Shining, which if we take this shit literally means they are actually driving toward the Overlook Hotel.
There is also a remastered edition, with some added special effects. This kind of behind the scenes drama always gives films a little extra emphasis, because it means people were willing to fight to see the real thing.
It goes without saying that the production design on Blade Runner is iconic and almost indescribably influential. The early s was the peak of the neo-noir wave, and Blade Runner seamlessly fused noir elements with sci-fi imagery to create a classic dystopian vision of the future.
I talked about this in my review of Alien. The real strength of that film is the mood and the atmosphere it creates through immaculate production design and visual world building. Blade Runner does the same thing, layer after layer of complex, rich detail that sucks you fully into its world and makes you feel a sense of both awe and unease.
The world building, the visual imagery, the production design of this film - it is all impeccable. But what ultimately elevates Blade Runner to a masterpiece is that it takes all of this visual magic and uses it in service of a complicated narrative that asks big questions, like what is the meaning of life? Ridley Scott would return to these Big Questions with Prometheus and Alien: Covenant, and people screamed because what they wanted to see was an alien suck the spine out of a headless corpse.
The last scene achieves at last both tenderness and reciprocity; he awakens her from what really might be death, as in a fairytale, with a kiss. Feeling connection to the beautiful Rachael is one thing; coming into connection with brutal, terrifying Roy is quite another.
For much of the film, Deckard refuses to identify himself with his prey; after all, that might make him no better than an organic machine. As they do so, the similarities between them grow stronger — both are hunter and hunted, both are in pain, both struggle with a hurt, claw-like hand. If the film suggests a connection here that Deckard himself might still at this point deny, at the very end doubt falls away.
If Deckard cannot see himself in the other, Roy can. The white dove that implausibly flies up from Roy at the moment of his death perhaps stretches belief with its symbolism; but for me at least the movie has earned that moment, suggesting that in the replicant, as in the replicated technology of film itself, there remains a place for something human. Tears in rain? Why Blade Runner is timeless.
When the hunter is hunted … Harrison Ford in Blade Runner. Blade Runner 2: 10 things to hope for.
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