Blade Runner 2049: more than just a replicant


Published on Oct 09, 2017


It was 1982 when Ridley Scott changed forever the sci-fi cinema with Blade Runner, telling us about the Los Angeles of 2019 is a dark, charming, and cynical.

Today, thirty years later (thirty years to the day in the world of the film, a few more in ours), a lot has changed for both worlds: the cinema industry is heading more and more inevitably into collision with the serialization of the television, encouraging the growth of production profitable to those more markedly authorial; the one of Blade Runner – Scott, formed from a short story by Philip K. Dick – from the dark, charming and cynical that it was, in the time between 2019 and 2049 has started to crumble, to wilt, to give up, cooling down (to the incessant rain of the british Scott became white snow to the canadian Villeneuve).

The fault of wars and nuclear radiation, because of the blackout of apocalyptic guilt of biotechnology companies without scruples that have affected the fabric of society by inserting in it a new breed – that of Replicators, evolved from the model Nexus 6 to the Nexus 8 – that for the first time after many years she began to dream of the possibility of autonomy, a hope of liberation, a desire for revolution (a son of the revolution of Deckard and Rachel, who rebelled against the diktat of the society by the escape of love).

One of the major differences between the film of Scott and Villeneuve is right here: if the first Blade Runner blended noir with science fiction to stage themes, the tall and all-encompassing (from philosophy to politics, from mythology to religion, from technology to ecology) 2049, as the most intelligent among the children of art, slips away from the giant and cumbersome shadow of the parent to tell a story that, without detaching from the main theme, it becomes much more human, much more intimate. And, in doing so, paradoxically (and intelligently) expands enormously the horizons of the world in which makes us return.

Until today, in fact, that the world had remained confined to the streets of a wet and smoky neighborhoods in the neon painted by Scott and dop Jordan Cronenweth: Villeneuve and his pdo of the trust Roger Deakins (who arrived at the age of thirteen nominations for the Oscars, this year will finally be the long-awaited victory) instead, in the retelling of the existential trip of K (a Ryan Gosling from the eye the vitreous humor that seems to come directly from the overlooked but vibrant Only God Forgives), enlarge this universe by showing us more (we move in the countryside around Los Angeles, we arrive in San Diego, we are driven up to Las Vegas, we run the risk even of leaving for a colony of her world and playing to create, to dream, to imagine (one of the best scenes – among the many – will be entirely based on the concepts of creation and imagination, and is simply stunning).

While in the first film in the survey, rather simple (find the replicants fled) was the excuse Scott used to tell us about God and creation, and dozens of other things, here the case in which the agent K will got stuck becomes the vehicle that Villeneuve, as a wise chauffer, usa to escort us between the wilderness of this broken world, that reflects the book of revelation the interior of the new protagonist: the script is less poetic but more ambitious, the more complex and intricate (and the force of things a lot less perfect), the less universal but more introverted (almost freudian), and the more the narrative continues, the more the world expands to shots of scenes of visionary images and the hallucinatory.

The proportion elegant and regal that the director wants to give to his work, then, can boast of the happy marriage with the soundtrack of Hans Zimmer, and Benjamin Wallfisch, who riadattano that immortal Vangelis, turning the sensuality of the unforgettable melodies of the first chapter in an explosive burst of magniloquence.

And if Blade Runner had established visual languages and intellectual stimulus that would influence the works of the genre later, Blade Runner 2049 retrieve, and extrapolate those languages and those stimuli from the best science fiction of the last 30 years (you can notice the influences in the themes and/or graphics by Terminator, A. I. Artificial Intelligence, Her, Ex-Machina, which is a child of Blade Runner, although it seems a prequel, there are holograms of the recent Ghost in the Shell, there is yellow ochre Mad Max: Fury Road, with a specific scene that pays tribute to George Miller) new, however, and especially cover in the specific uniqueness of this universe, pulsating, coherent, and alive as never before.

The ubiquitous eyes of the first chapter (not only the mirror of the soul, but also a sign of distinction between human and replicant) are overlooked in favour of the concepts of memory and memories. With only two exceptions: the first will deal with just Rick Deckard, and will be linked to the concept of memory (more I cannot say) while the second, even more interesting, is represented by the character of Jared Leto (redundant and often instructive, one of the few flaws of the film), whose blindness becomes a metaphor of the absence of empathy, that empathy, that instead showed the replicant Roy Betty in the tragic and exciting final scenes of Blade Runner (another flaw is the villain unnecessarily sadistic, and almost to levels of annoying that comes in sharp contrast with the dynamics of the world of the film).

Perhaps as never before-now with a second chapter, we had to measure with an original work that is so important and unique, but Denis Villeneuve is managed in the enterprise. This film is not a masterpiece, and maybe not even his best work (despite what say the good Denis, and honour, if they still play as an Assassin and Enemy), but it is definitely a technician test-the visual that has no previous and is also one of the best sequels in the history of cinema: not only does not regret the first chapter, but updates it with wisdom and without trying to emulate it succeeds beautifully to find their own way and their own raison d'être.

For this Blade Runner-2049 is a triumph: because it fits in with the modern needs of the world of cinema to create the series, without forgetting the plant art, here is refined and impressive.

Blade Runner 2049: more than just a replicant is




Hey friend

Your blog talks about Blade Runner 2049: More Than Just A Replicant? Contact Us to be indexed in the BitFeed Network