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nice article, i was maybe 10 when my mum first let me see blade runner (rented vhs of the more audience-palatable cut) and i remember being pretty shocked by that first "retirement". i can still see the blood and the plate glass in my mind's eye... one of my first Adult Films. wish i could go back and see it all over again tbh |
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I remember watching it alone as a kid on tv. What first struck me and has forever stayed is the feel/mood/ambience/atmosphere. Visually it was a huge blast for me. Then it was that intensity you felt with Deccard and the other characters. It’s when I first realised that slow was good, that a science fiction movie didn’t have to be all action and fast editing. |
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yes that's the thing I got out of the film most was the dream like atmosphere, its like a futuristic fairy tale in a way |
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Yep. those recent 7/11 raids too......good article. |
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the soundtrack is something else... just the first bit of dialogue on 'blush response' is amazing, gives me goosebumps |
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the score complements the film so well, its definitely my favourite, i rarely listen to soundtracks of films, but i listen to the bladerunner one loads |
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tangerine dream soundtrack to the keep is good as well |
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Belb and Dusty - it would be wild to have seen it for the first time as a kid! Ah, to have those memories impressed in a tender mind. I saw it when I was a teen and though it was beautiful, I was annoyed that Han Solo was the main actor, which took me out of the movie a bit. Also I was too thick to pick up on all the nuances and themes until later viewings. |
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Exactly - one of the Blade Runner themes that is made more explicit in Villeneuve's 2049 is nationalism - where you come from determines your worth. If it's not out of a human woman's hoo-ha, tough luck buddy. Doesn't matter what you can do, think, or feel. You are your . |
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Its like a great veil has been lifted, and the pretense that we know what we are doing as a human race is crooked illusion. |
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It's the most musical movie, for me - not only because of the actual soundtrack, but because of the rhythms and movements of the film, how the lush visuals mesh with the incidental sound effects, and the stark contrast between all that beauty and the darkness of the subject matter - a poisoned world, the brutality of Deckard's job, his alienation and solitude. Makes it all the more poignant. The sequence after Rachel shoots Leon and they go back to Deckard's apartment - such aesthetic and emotional overload. The lighting, the way the exposure blows out when something bright and floating moves past the window. I don't fully agree with the article's assessment of their relationship - by the end of the movie he's entirely invested in her personhood. It's a tragedy, not a satire. (talking about the final cut, here) |
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yes its an article, written from a contemporary view, you get the feeling she is equating Deckard with Harvey Weinstein |
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I mean, she's not entirely wrong - there's an imbalance of power, she's a slave and he's a master (maybe). When he first discovers she's a replicant he sees her as a thing - "how can it not know what it is?" he asks Tyrell. He has contempt and then pity for her the first time she shows up at his apartment to plead her case that she's real. Their first sexual encounter is quasi-rape. But his experience of her as a thinking feeling person humanizes her. At least I like to think so. This ties in with a major theme of the movie, that perceiving someone (even yourself) as a person is what makes personhood. This is what's behind the constant eye motif in the film. |
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Yes i get a bit uncomfortable, when he holds her and tells her what to say in the love scene. When I was young I was viewing the film entirely from Deckard's point of view, when your older you realise he is a washed out, alcoholic, hardened killer. |
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I like it when he comes to the realisation that Rachel isnt just a machine when he tries to spare her feelings when he mentions she has the memories of Tyrell's niece. If he was beyond redemption he wouldn't have bothered |
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That's right, I think that's when it first becomes apparent to him that she's not an automaton, that she has subjective experience and isn't what they call a "philosophical zombie" with no inner life. Later on after she shoots Leon he says to her "Shakes? Yeah I get 'em too" so he's starting to identify with her. |
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