![]() For example, the extreme close up of the eye reflecting Los Angeles in Blade Runner is mirrored, but this time it is focused solely on an eye with no such texture, bringing us into the story from the context of the philosophical undertones of the film regarding life, identity and humanity. ![]() This is a mature, sophisticated film in the sense that it uses the forms of the original yet boldly avoids clouding them in unnecessary texture and ornament. Although it occasionally rings hollow, most of the time it works. Clearly, a decision was made to balance clean lighting and design with the grit of the future. Indeed, the cinematography of Blade Runner 2049 is quite beautiful. Mirroring the evolution of abstract art and its place in our culture, what cinematically baffled before is now commonplace, and we’ve learned much about the potential of the cinematic language over the last century and over the last third of a century since the original Blade Runner film, directed by Scott and photographed by Jordan Cronenweth. While the flow of energy and aesthetic were either ignored, misunderstood or maligned in 1982, our understanding of film has evolved. The pacing and cinematography mirror the original while allowing Villeneuve and the illustrious Roger Deakins the space to construct their own vision without contradicting the original. Showing great respect to the audience and for such concerns, Blade Runner 2049, directed by Denis Villeneuve, written by Hampton Fancher (who wrote the original Blade Runner screenplay) and Michael Green and executive produced by Ridley Scott, delivers just about in every way possible to give respect to the original. The main argument against such a sequel is, obviously, that the original will be tainted by association with an inferior sequel. Going back to the original 1982 film directed by Ridley Scott, a box office failure that became a small cult classic, was edited multiple times (seven versions, for heaven’s sake) and eventually came to be known as a science fiction/ tech noir classic and now a film classic beyond genre, we are given the seeds of what was almost universally considered a bad idea: a sequel that would continue the use of androids (replicants) to explore what it means to be human, or to simply be alive, whatever the nomenclature. Expecting an action film will lead to disappointment, while expecting thought-provoking philosophy and even soul-searching will yield fantastic results. How one reacts to a Blade Runner film depends very much on expectations. This inkling of pursuing the unknown in the dystopian The Trial can be felt in Blade Runner 2049, as well. In it an accused man, Joseph K, attempts to discover the crime for which he is accused and defend himself against said undefined accusation. The designation “K,” while short for a serial number, hearkens to The Trial, a film by Orson Welles based on a story of the same name by Kafka. SPOILERS ARE CONTAINED WITHIN THIS REVIEWīlade Runner 2049 is a melancholic noir that follows replicant K as he pursues knowledge of a miracle replicant birth in a sequel that thoughtfully continues the exploration of what it means to be human with what it means to live and love. Written by: Hampton Fancher, Michael GreenĬast: Harrison Ford, Ryan Gosling, Ana de Armas, Jared Leto “What an ugly beast the ape, and how like us.” -Cicero A director who makes a film entirely based on somebody else’s screenplay necessarily becomes an illustrator.” -Andrei Tarkovsky “I cannot imagine making a film based on a screenplay I didn’t write.
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