Danny Villeneuve, being one of the most promising and talented Directors of our time, has once again created an uncompromising fascinating fiction. But if the “Arrival” last year was a revelation in this genre, today’s “blade Runner,” only develops the success of the Director in this field, both in visual terms and in terms of performance and craftsmanship. Although the latter, coupled with not the most polished script, looks more like cautious steps into the unknown, rather than a confident walk in familiar places.
This time, in his film, Villeneuve talks about what it really means to be human. What makes us who we are. How memories affect the individuality of our personality, creating a feeling of life and the truth of what is happening around, forming an abstract concept of the human soul. And so symbolic looks the opening scene close-UPS of the human eye, as a mirror of the soul. However, in many respects, this concept of the narrative and repeats the main message and ideas of the first film and the opening scene is identical to scene 1982. Still, it looks more like a careful handling with the classics, trying to give a tribute to Ridley Livestock and make a fresh look at familiar issues, and not simply an attempt to speculate on the successes of the past, is simply referring to the costs of the genre of cyber-punk fiction. After all, it should work perfect sequel?
“Blade runner” in 1982, was highly artistic, measured and slow, and even visco protracted cold Arthouse in the scenery bleak and hopeless future, based on the novel by science fiction writer Philip K. dick’s “do androids Dream electric sheep?”. The picture created a feeling of uncertainty and left a strange aftertaste due to the cut of the editing and the script. And being adopted, at the time, very cool as usual from the audience and from professional critics, has become a truly iconic and an incredibly revered only 15 years later with the release of “final” version. Later became a defining film in the genre of science fiction, “blade Runner” instilled huge interest in such interpretations of the future and the direction of cyber-punk cinema. The echoes of the first film can be clearly seen in the works of Masamune Shiro (Ghost in the shell) and Katsuhiro Otomo (Akira), for example. That is why on the shoulders Villeneuve was given such an enormous burden of responsibility to the world cinema community. And who, if not a Maestro serious science fiction would be able to handle it?
“Blade runner 2049” it’s all the same, orderly, oppressive, cold and visually impeccable movie. On the technical side, even at the biggest desire, the film is simply impossible to find fault. Visual content of the picture maximum academically verified. The aesthetics and some of the scenes and frames affects so much that it makes me think to get a collection of time-lapse accented paintings. That unequivocally proves the unbreakable bond between the Director and the operator in the production process Kinopalats. Roger deakins showed Los Angeles 2049 simultaneously fascinating and frightening, beautiful and eerie to the pain of attracting-repelling, as paradoxical as it may sound. The rich use far, the most common and simple medium of plans, in scenes of dialogue, movements of the main character on location or trivial flights by car. The meticulous detail of the city, and especially its lower levels. The General feeling of overcrowding and stampede, contrasting with the lonely desert landscapes. Along with an incredibly oppressive, heavy, but smooth soundtrack of HANZ Zimmer and Benjamin Wallfish, makes the world of the film separate and equally important character. Creates a unique, oppressive atmosphere of a combination of mutually exclusive at first glance, notions of highly developed technological progress and criminal poverty of the General population. Not in the last instance dictated by the genre and direction of cyber-punk.
But if speaking about the city and the world of the film as a separate character, one could argue about the concepts of emotional attachment and empathy, then, unfortunately, the protagonists of the picture this applies not so much. Acting are on the highest level, all play great. But only in the scenario through their characters. And since the characters of the film are far from reality, aloof and not particularly expressive, and emotionally can’t accept them fully. Ryan Gosling copes with its task and periodically gives the necessary emotion when required. That’s just required it’s not as often as I would like. About Harrison Ford talk a lot do not have. He, as usual, fantastic and the chances of appearances on the screen overshadows all others, his unbridled charisma. Special note is Ana de Armas and present, surprisingly, not working and useless love story, in which she takes part. Her character joy is a great complement to the image of Gosling police officer of Los Angeles “Kay”, blade runner, as a person, “artificially” living your life. Secondary characters are also limited to the scenario framework, and is little different from the main. Except that we see them less often. The only thing that really catches the eye is dry and the vagueness of the main antagonist. Head of Corporation Wallace, Neander Wallace the character of Jared Leto. The main motives which practically is not disclosed. But for a negligible time of his presence in the frame, to understand what motivates them, objectively not possible. And even released a seven-minute short film can hardly help the situation. Wallace looks more like an outsider, a secondary character than as the main antagonist of the picture. And the stranger looks like, what his assistant looks much more convincing in his role. Although it has a worse background and is without emotional Replicant. But her every appearance on the screen evokes a sense of danger and hostility.
Definitely, Denis Villeneuve coped with the task. He made a worthy sequel, gently shifting and developing ideas of the first film, not to sink in up the accumulated material. “Blade runner 2049” turned into “popcorn” Thriller middling, but did not just stay on the laurels of its progenitor, frankly imitating him. Villeneuve was able to find the “Golden mean”, despite the cost of his ambitions as a Director.
And 35 years later “blade Runner” remains the same slow, lengthy, hard to understand, simply depressing film. Film still determining the motion vector of intellectual science fiction in film today. And is this total lack, essential perfect sequel, or, indeed, the costs of the genre, everyone decides for himself.
9 out of 10