Blade Runner: O Caçador de Andróides

This is simply Scott's finest hour. There are a sheer plethora of futuristic films with vision. Films which crudely grope into a possible time ahead,when perhaps a post apocalyptic era is scattered with cliché upon cliché and often miss the whole point. What Ridley Scott achieved with this film,is an entirely possible scenario. It really does feel like a science fiction novel brought to life,but not so much as its derivative penned by Phillip K Dick(do androids dream of electric sheep?). Its a grimy,violent world inhabited by the sick,lower class,villainous second citizens who haven't quite made the grade for the off world colonies. We have a true smelting pot of nationalities.The heavy eastern references within china town like inner cities is particularly poignant.

This film also sees Ford in perfect casting.Theirs a rye charm that Ford has that no other actor could fake or fill quite as effortlessly. Its a mixed review depending on what version you have seen. For me,the directors cut is simply too cut. I preferred the audience friendly screening which had the wonderful narration. The finest moment with this narration has to be the moments described by Batty in his dying eyes and the summing up by Ford of this man/machines passion and love for life.. No other sci-fi futuristic film has ever made the grade before or since in my humble opinion. It captured the raw smells and light of a brutal future scarily depicted in films or even so well. From the chase scene with Zora to the flybys over the city capturing a stunning skyline,chimneys and skyscrapers in one shot. This is my favourite movie of all time for all the reasons above and many more i could effortlessly type all day and night.

Blade Runner, directed by Ridley Scott and based on Philip K. Dick's novel Do Androids Dream of Electric Sheep, is a Sci-fi slash Noir film about a cop named Rick Deckard (Harrison Ford) in a decrepit 2019 Los Angeles whose job it is to "retire" four genetically engineered syborgues, known as "Replicants". The four fugitives, Pris (Daryl Hannah), Zhora (Joanna Cassidy), Leon (Brion James), and their leader, Roy Batty (Rutger Hauer), have escaped from an off-world colony in order to find their creator and bully him into expanding their pre-determined four year life span. This film originally flopped when it came out in 1982, but since has become a widely acclaimed cult classic with a director's cut to boot. A large part of the success that this movie has received can be attributed to its ability to operate on many different levels.

Ridley Scott's hauntingly possible depiction of what might become of Los Angeles down the line is absolutely brilliant. It captures elements of Noir with its urban atmosphere of decadence, lighting, and characters neither clearly defined as good nor evil. Corruption is everywhere. The garbage-littered streets and permanence of dark and rain give us the sense that we've seriously screwed up the atmosphere, and the impression that all respectable human beings have fled to the off-world colonies, leaving only the scum of the earth behind.

There is a hint of style from the 40's, especially with respect to cars, costumes, and music. Rachael's entire outfit, including her hair, screams the 40's.

The soundtrack, arranged by Vangelis (who won an Oscar for his Chariots of Fire score), consisted mainly of Jazz and Blues. This functioned to represent a dark, moody world of uncertainty and pessimism.

The special effects were exceptional. Much of the set was pulled off using models. In my opinion, sets made by hand require leagues more of skill and are much more impressive and realistic than those computer generated. These guys really knew what they were doing. I was especially fond of the pyramidesque Tyrell Corporation building, which hinted at the god-like presence of Eldon Tyrell (Joe Turkell), the creator.

The script (Hampton Fancher, David Peoples, and of course Phil Dick) worked for me, as well as the actors who gave voice to it. Harrison Ford was well...Harrison Ford. I thought he did a tremendous job down-playing the role. His voice-over narration helped you along, and was yet another feature conducive to Film Noir (apparently this was taken out of the Director's Cut). Rutger Hauer's performance was intense. His lines at the end were intriguingly philosophical. Daryl Hannah's chilling robotic expressions were quite impressive. Joanna Cassidy was just plain hot.

There is more to this film than just pulp. It works on so many remarkable levels. The movie itself is a detective noir quest for the meaning of life in a science fiction environment, but the story is a commentary on what it means to be human and the questions each one of us have about life, like: How long have I to live? Why do I have to die? What happens when I die? Doesn't my maker care? Is this all merely an illusion? At the end of the film we are left to wonder if these Replicants are human, and if Deckard himself is in fact a Replicant. Scott raises more questions here than he answers, and as a result, critics are still debating the mysteries of this film today. In a sense, the ambiguity of Blade Runner is the culprit of its success.

Blade Runner describes a future in which, through genetics, artificial humans are manufactured and called "replicants"; employees in dangerous jobs and slaves in the outer colonies of the Earth. Made by Tyrell Corporation under the motto "more humans than humans" -especially the "Nexus-6" models- not only resembles humans, they are far superior physically.

The replicants were declared illegal on planet Earth after a bloody mutiny occurred on the planet Mars, where they worked as slaves. A special police force, Blade Runners, is in charge of identifying, tracking and killing - or "withdrawing", in terms of the police itself - the fugitive replicants found on Earth. With a group of replicants loose in Los Angeles, Rick Deckard, the best agent that has existed in regard to the recovery and removal of the replicas, is removed from his semi-retirement to use some of "the old magic blade runner".

Ridley Scott fantastic dark cyberpunk style and futuristic design is so well made that accomplished to create a visual vocabulary: neon lights, abandonment, decay, loneliness, obscurity, indifference and alienation are the core of the aesthetics of the film, which will eventually become and serve as a pattern for successive cinematographic works.

The script David Webb Peoples adapted from 'Do Androids Dream of Electric Sheep?' takes the viewer into a dwelling and philosophical controversy, as it creates doubt and empathy to the so called replicants, primarily as seen in many shots of Rick Deckard hesitating about the true nature of his task.

Harrison Ford and Rutger Hauer haunts the attention into the essence of the story. Their characterization throughout infiltrates the different conceptions of life. A saddened soul searching for the meaning of his punished existence and the other, ruminating a task sinking him into a moral void brimming with guilt.

At the end, the movie leaves you wondering about the implications the creation of highly intelligent beings (IA) must have and, if it's worth treating them as machines or they have become so human that the difference is non existent.

"Time... to die".

10/10.

Rick Deckard is given an assignment to 'retire' several biologically engineered fugitives.

The plot follows Deckard as he hunts replicants, falls in love and questions his own humanity. It moves slow, allowing you to take in all the sights and sounds of 2019 Los Angeles (as imagined in 1982), whilst pondering some of its themes.

The imagery and dialogue associated with what defines a sentient being and what makes us human is compellingly portrayed. The device used to explore these themes is the genetically engineered humanoid life-form, the godlike status of its creator and the morally compromised nature of the ordinary human. Additionally the number of references to the eyes and linking of what we see and remember versus what is fake and reality, is cleverly mixed into the story. If you want in depth analysis, google 'Blade Runner Themes and Motifs'.

The character of Roy Batty has been interpreted as both a religious and philosophical allegory, but these theories are debatable. He is for me the most intriguing character in the movie and his final scene is one of the most memorable of all time. Along with Deckard, it made me wonder if there is any real difference between humans and replicants. He is portrayed wonderfully by Rutger Hauer who both looks and acts the part.

Deckard is impressively played by Harrison Ford, who is perfect for movies with an emphasis on visuals. Ninety percent of his power as an actor comes from his screen presence and soulful facial expressions. His scenes with Sean Young young are as touching as the action scenes are brutal.

One of Blade Runner's most memorable aspects is its depiction of 2019 Los Angeles, with its permanently dark rainy skies, overcrowding, neon lights, high concept technology, urban decay and environmental devastation. Take away the flying cars and off-world colonies and it's not far off an accurate prediction.

I could write about the atmospheric cinematography, artistic designs and special effects, but nothing I can say would do it justice.

The question of whether Deckard is replicant or human is interesting. There is evidence of both but you must watch and decide. Does it matter? Probably not. If I had to decide, I'd say replicant.

What can be said about this film that hasn't already been covered in preceding decennia? Blade Runner (either version) stands the test of time as an epic story which transcends a disparity of genres, as well as the seminal "dark" sci-fi film which has been mimicked so frequently (to varying degrees of success) since its original release. The interplay of film noir, sci-fi, and what is one of the most philosophically symbolic and academically analyzed narratives of the modern era holds its ground on both visual and cerebral levels even in the face of today's CGI laden blockbusters. The new director's cut, contrary to many cinematic re-hashings, actually serves to clarify many of the more nebulous aspects of the plot and makes a great film even better, arguably allowing it to be modernized and polished for a new generation of viewers who are more picky and yet simultaneously less idealistic. All while sustaining the feeling and flavor of the original. Call it restorative work if you will. The tinny and meandering score by Vangelis is pure 1980s at its most brooding and fits the texture and mood of the film beautifully. Indeed, for many reasons, finding this film in someone's DVD collection makes a true statement about their discriminating and refined taste in movies, and equally their appreciation of film as an artistic medium. I would suggest picking up a reader by someone like Nietzsche, Foucualt, Descartes, Kierkegaard, or any of the great existentialist philosophers after viewing this film in order to appreciate the story & its concepts at a whole new level, regardless if you're watching it for either the 1st, or the 100th time. An enduring classic and an intrepid piece of film-making with rich & often haunting visuals designed to entertain and promote introspection amongst its viewers. 9/10.