Ridley Scott's Original "BLADE RUNNER"

Elegant within it’s cyber punk, dystopian madness “Blade Runner” stands momentously as a cinematic mild stone, a classic that continues to delight, bewilder, beguile and intrigue. You’re right; I am a fan. Former art director Ridley Scott set out to create something marvelous. He achieved just that as he eclipsed his himself and his magnificent crew’s original daring visions. Together they discovered (created) that rare wonder; a masterpiece of cinema and in that including of all of art and creativity.

The film as a whole is purely a visual splendor. Every performance to note from Harrison Ford to Sean Young to Rutger Hauer to Edward James Olmos to Daryl Hannah and M. Emmet Walsh is pitch perfect, nuanced and individually unique. The score is rich, enchanting, futuristic and reflective of an earlier form; the film noir. This atmospheric, dark, foggy acid rain refracting look is hypnotic and equally contributing to the film’s narrative. Former Police Officer/Blade Runner Rick Deckard must hunt down and “retire a group of super sophisticated, self-aware renegade androids (Replicants) and “retire” them.

The inspiration and basis of the film is the Phillip K. Dick Sci-Fi novel “Do Androids Dream of Electric Sheep?” It is a well-executed and provocative work that bears almost no resemblance to Scott’s film. I am guessing that it was Scott’s intention to do so.   

The film was not originally a huge hit. It was far too radical, distinctive and for all general purposes dark for that. How many times does the general public adapt and gravitate to the new and daring? It is an even rarer thing and in many ways a compliment to go unnoticed and unheralded at first encounter. I saw it at least four times in 1982 the summer of it’s release. Imagine too; that the lead, Harrison Ford was not a star in his own right at the time. He had appeared in “Star Wars” in 1977 a few years before but it was “Blade Runner” that established his remarkable and unique super stardom along with years of long and continuing acting successes.  

The iconic Poster (Left) features Deckard and Rachel above the aerial view of the fabled acid rain drenched city of the then future (2019) Los Angelos. Original versions of the poster retail for as much as $2,000.

Much of the visuals and themes of “Blade Runner” are influenced by the look of Fritz Lang’s “Metropolis.” It is a fitting homage of sorts to Lang’s film. It is also truly in the same vein of the H.G. Wells book “The Shape of Things to Come.” 

The film has gone through a number of rereleases and subsequent director’s cuts. It is the original 1982 release with the matter of fact and often nuanced voice over by Deckard (Harrison Ford) that was the most striking and entertaining incarnation that I most completely enjoyed. The eloquent and somewhat world weary voice added the right touch with the “film noir” over tones and feel of the production.

 As of date the seminal “Blade Runner” is without equal or legitimate successor. The film does create many questions in plot and purpose. One major question concerns who and what Deccard himself might actually be. The original cut of the movie alluded to in several instances and tone to the possibility of the Deckard character being himself a replicant. The final director’s cut of the film (2007) attempts to clear up the discrepancies. A dream sequence featuring a startled and running unicorn is held by Deckard in his sleep. The dream along with a strategically placed origami unicorn by the Gaff character late in the film serves as an explanation of sorts. The inference is that Gaff is privy to Deckard’s programmed and implanted dreams. This can be interpreted as a true explanation or the subject for more confusion; the debate continues.The mostly unsuccessful and lackluster sequel “Blade Runner 2049” attempts to expand, to enhance and explain other elements of the original film; the attempt was futile. In my imagination there was no need for a sequel or expansion and it falls far short of the original. Many, many films need no sequel and the attempt to extend their narratives are hackneyed, lackluster attempts at best but well the subjects for further debate. 

VIDEO

 Animation Depicting Events Between Original Film and "Blade Runner 2049"

Another superb outing for director Scott was the “1984” titled commercial for the Apple PC that aired during the 1984 Super bowl. The commercial is a response to the George Orwell novel. It is considered by many aficionados and experts to be one of the greatest commercials of stated history.  See it here as originally and nationally viewed in January of said year.  

Until and if ever eclipsed Scott remains the pre-eminent and unchallenged champion of the cyber punk, the fantastic world of film experimentation and it’s successful execution!

The Electric State

Simon Stalenhag’s “The Electric State.”

This dystopian art novel

Is poignant, hauntingly engaging and totally addictive.

The works beautifully compelling imagery unfolds graphically like the best cinematography

as it is supplemented with a text that fills in many gaps.

Stalenhag  leaves enough to the imagination of the reader to intrigue

while suggesting a future we don’t completely understand

and yet ironically recognizing all the much too well.

         

                     

             

               

Alien

 When director Ridley Scott sought to create something magnificently horrific and challenging for film viewers at the dawning of the “Star Wars” era of film he looked to artists including; Chris Foss, Moebius  and  most strikingly Swiss Surrealist H.R. Giger. The works of Giger were unequaled in terms of their scope; sense of dread, ability to repulse as they equally intrigued and encaptured his viewers. They are with every possibility the purest examples of nightmares ever put to canvas or screen. Giger’s monochromatic creations were very much driven by his own sleep disorder (night terrors) as by his rich imagination. Giger is a technically skilled artist and draftsman with a style almost completely unto himself. There is only one H.R. Giger.

The creations and designs of Giger possess a quality of things emanating from the mind and heart of a madman. His works can be difficult for most viewers. He has referred to the hopelessly insane as being a large portion of his audience. His pieces are as many times representational of eroticism as they are a combination of a repressed violence. They are often composition of the demonic; distantly removed from anything remotely of the saints. What artist could be better suited to contribute to the horror genre films of the late 20^th Century?  

“Bio-Mechanical” is a term Giger often used to describe his own creations. In that too he was singular as I know of no other artist fitting into Giger’s self-titled genre. He was able within his career to expand on many forms of creativity and cross markets. He was first of all a painter (nothing short of a master) and after that he included set design, sculpture and film director. He was very much ingrained in the music field; often as a commissioned artist. Emerson Lake and Palmer, Debbie Harry and many other musicians used Giger’s works for memorable album covers. He inspired video games and calendars while fans are noted for adorning their various body parts with Giger tattoos. His architecturally informed creations decorate interiors for night clubs and restaurants. Giger is many times over a force in the art worlds variously articulated commodities and structures.  

Earlier this week on May 12^th Hans Rudolph Giger passed away from the earth. Giger was 74 years old and still engaged with his art.  His alien is one of the most terrifying creatures ever preserved on film. He will best be remembered for his alien and the sets he designed for the original Ridley Sott film. 

Humanity has looked to the darkness for generations; most often in fear. It is the keeper of mystery and visions of irrational dread. Giger shared with us his own nightmare scenarios and images in the form of stories. In that he is linked to the ages.  By taking us eerily and endearingly into his nightmares he entertained us and helped us understand and live within our own.