He also improvised the now-iconic line "All those moments will be lost in time. This is Rutger Hauer's favorite of his own films. Hauer came up with many inventive ideas for his characterization, like the moment where he grabs and fondles a dove.Ridley Scott regards Blade Runner (1982) as probably his most personal and complete film.
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They’ve all contributed to a piece of weird movie magic that’s going to become one of 1982’s most discussed of the big guns.A blade runner must pursue and try to terminate four replicants who stole a ship in space and have returned to Earth to find their creator. Young, Hannah and Cassidy nicely hold up the feminine end of the proceedings.ĭown the line, the technical and creative support is expert, including costumes designed by Charles Knode and Michael Kaplan, editing supervised by Terry Rawlings, art direction by David Snyder, just for starters. William Sanderson is also a standout as a mousy genetic designer, his cavernous apartment filled with living dolls of his creation. Hauer again makes a supreme villain, at once a symbol of physical perfection and twinkling evil. The acting is also first-line, headed by Ford, who is perfectly cast as the scruffy hunter, a character he endows with enough personality and vulnerability to create all the necessary audience identification and caring. Paull’s breathtaking production design and the strong special photographic and visual effects supervised by Douglas Trumbull, Richard Yuricich and David Dryer, Jordan Cronenweth’s cinematography is also noteworthy and underneath it all, eerie music by Vangelis, often emphasizing a wailing saxophone, makes as much of an impact as did his score for the decidedly different cup of tea, Chariots of Fire.
The picture is a triumph for Scott, who whallops over the “B.R.” thesis and atmosphere with a strong sense of style, and relentlessness. For them all, Blade Runner will require more than one visit to get all the implications. It all adds up to a virtual feast for sci-fi devotees, not to mention audiences who appreciate decidely off-beat themes and substance worth debate. Adding to his problem is the fact that Sean Young, with whom he is having a romantic alliance, may also be a dreaded “ replicant.” jungles as he accomplishes his mission, namely the destruction of Joanna Cassidy, Brion James, Daryl Hannah and Rutger Hauer. Blade Runner follows Ford’s trail through the L.A. When four “ replicants” manage to return to earth, Ford is enlisted by the police to find them, and terminate them. Ford is an ex-Blade Runner, once a paid assassin of “ replicants,” the latter of a genetically engineered breed of “humans” now outlawed on earth. Within this haze, Harrison Ford narrates a tale with all the world-weariness of a spent Sam Spade, which dialogue by screenwriters Hampton Fancher (who co-executive-produced with Brian Kelly) and David Peoples straight out of such film noir cop classics as Murder, My Sweet and The Brasher Doubloon. (It is some comfort that the downtown Million Dollar theatre seems to still be playing Spanish films in 2019, and Hare Krishna members are still out there parading the streets in their yellow sheets.) Underneath all is a constant sense of claustrophobia, hopelessness and terror. Rain is a constant.Īt ground level, streets are crowded with bodies, and much of the city has become Oriental.
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In his view, the City of Angels has become a ghoulish circus of towering, pyramid-like buildings, flying cars, space stations and a constant barrage of TV commercial hype writhing on the sides of monstrous buildings and from blimps endlessly careening through an air that’s dense with searchlights, smoke, smog and dust. Set 37 years in the future in 2019 Los Angeles, a time and place within the potential reach of many of today’s moviegoers, Scott doesn’t promise much to anticipate. Overall, the concept is likewise chilling. Like Von Sternberg, Scott packs the screen ratio at every turn with images that penetrate. It possesses a size that is awesome, sound and visual accompaniments that blasts the senses and a pessimistic attitude that would do justice to the hellish worlds Josef von Sternberg investigated in his Germanic and Paramount projects in the early 1930s. Blade Runner is not an easy film to watch comfortably, or categorize smoothly.
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