Synopsis-Killer's Day. In
2019, the sky in Los Angeles was drizzled, neon signs flashed everywhere, and huge billboards played advertising messages above the city. There were crowds of people everywhere, and the messy and humid streets. The air was filled with underground water vapor and noisy international language conversations. Blade Runner Deckard stood quietly in a corner of the street, watching the news in the newspaper about the copying man escaping from outer space back to Earth. He put down the newspaper and looked at the moving advertisement in the sky. The advertisement tried to tell all the humans on the ground that there is a better world in outer space. He doesn’t know how true this advertisement is, he doesn’t know how many people in this city live by relying on this illusory vision of the future, he doesn’t know the meaning of survival in this world in this era, and he doesn’t know actually In a few minutes he will be assigned to hunt down the clones-and he will meet the glamorous clone Rachael; he will also slay the snake clone Zhora in the street; he will almost die in the hands of Leon; Will also witness Pris die in an extremely painful struggle under his gun...and in the end he will be rescued by their leader Roy.
There are many things he doesn’t understand that he will relearn today, but at the moment he only wants to eat a bowl of Chinese Ramen...
As a classic sci-fi movie, Blade Runner is less often talked about, but rather the authentic blackness of his internal character structure and narrative mode. Pedigree. Although it is based on the masterpiece of science fiction master PKD (very depressed during his lifetime), it is usually classified as a classic of science fiction movies, but under the skillful transformation of the image style master Ridley Scott, it has become a film noir worldview. Watch the movie of Los Angeles and the clones in 2019. His film noir imagery couldn’t be clearer. Los Angeles with raindrops, detectives outside the system, daylight is like night light, shutter-like lights and shadows that appear from time to time, the cinematic version of Harrison Ford’s out-of-mirror monologue... plus the whole With the narrative method and character structure of the Ministry of Electricity, Blade Runner is not so much a science fiction classic as it is a film noir classic with a space-time background in 2019.
Harrison Ford is cold-tuned in Blade Runner, so sophisticated and cynic
There is no doubt that the black detective character in Blade Runner is Deckard. Although it seems that the hat is missing, Harrison Ford's interpretation basically does not need this hat to strengthen the black detective image. Just as Jiao Xiongping said-he is alive and well with Marlow in Los Angeles in 2019. Compared with Bogart, maybe it is less cool, but I think Harrison Ford is closer to Chandler's glib and tongue but has his own set. The principle of Maro, (Bogart's temperament is actually more suitable for interpreting Spade). Deckard wanted to break away from the organization of Blade Runner from the beginning, which showed his non-institutional spirit of the black detective. However, as a copycat (director's version), he was also controlled by the city and the big companies and institutions that symbolized the city. Killing the clones is also in line with the role of the black detective as a cultural intermediary. Deckard is typical of black detectives from appearance to role function.
Next, let's examine who is the fatal negative in Blade Runner. First of all, Rachael
Rachael , who is very impressive in both posters and films, is a femme-female appearance that fits too well
and she is the number one Deckard when she first came to Tyrell. A contact object, and continued close contact with Deckard. From the perspective of the narrative mode, Rachael is almost there. However, this is just a deceptive design. Rachael has neither malicious thoughts nor framed or caused anyone to sink. Rachael's main design of the plot is not the focus, which is fatal. The feminine character also does not fit the
picture description: Rachael, who is closely related to the black detective, uses a symbol that almost always appears in film noir—the streaks of light transmitted through the blinds seem to correspond to the hint of a deadly woman with double claims. It's just a pity that it's still a vain move.
Zhora,~~~ how?? Just being glamorous and vomiting clouds and entangled with the detective can't deceive you, so I just put a cloned snake on my body, do you think this is enough?
It looks like a snake and scorpion. Yes. XD is still an old question. Who was she framed?? What is his proportion and influence on the plot... Unfortunately, she is almost dispensable. Her biggest contribution to the film is that she is very beautiful. Orz
picture commentary: Dancing like a butterfly, the colorful neon of the city is reflected in the broken glass fragments.
Pris uses the kind Sebastian, beautiful and deadly, and seems to fit the image of the deadly feminine. The
room full of dummies and toys, The clones are quietly invisible, and they are actually Pinocchio who long to become real people.
Pris is quite close to femme females. She first took advantage of Sebastian's kindness and affection for her to lead Roy to Tyrell's enterprise, and then killed him. It seemed to fit the feminine taste, and she died in the end. The way is also reminiscent of the appearance of a spider, which is indeed a snake and scorpion. The only problem, which is the biggest problem, is still not a key role for the whole show.
There are so many images that suggest or resemble femme-females in the movie, but none of them.
So who is the
femme femme surname?? Maybe we shouldn’t think about it from the “human” direction... “Women, in tough guy detective novels, often have the same beautiful appearance as cities, but they are full of aggressiveness and danger inside. The city is full of strong temptations and excitement, and a woman, a morally negligible woman, is a symbol of inseparability from the city."
Jiao Xiongping-
I think the prelude to the Great Sleep ~~~ The reverse is also true.
Any mention of the city or architecture in the movie must not ignore Blade Runner. On the other hand, mentioning Blade Runner cannot fail to mention his city and architecture. I think Blade Runner gets rid of the concrete representation of femme fatale, and directly plays the role of the city matrix itself.
The city deceives people through its gorgeous appearance and false advertisements.
I can smell it before I get to Los Angeles. The city exudes a stale, moldy atmosphere, like a living room that has been closed for many years and has not been used. But those colorful lanterns will make you fooled, so they shine. We should really build a monument for the inventor of the neon light. It should be fifteen stories high and built entirely of hard marble. - Raymond Chandler young girl
under the bright lights of the run-down appearance but exudes a decadent atmosphere, as black as a woman.
Photo explanation: The classic image-the huge electronic billboard repeatedly broadcasts a Japanese woman's advertisement.
In addition to conveying the post-modern cultural atmosphere, does this also imply that the city itself is a femme fatale?
Yes, the city itself is a hidden deadly feminine. The main function of the deadly feminine in film noir is to bring destruction, a tragic fateful ending, while exuding a fascinating and beautiful but decadent atmosphere. The image of Blade Runner's city is so vivid, not only advanced and bright, but also eerie and decadent at the same time, and the pyramid building that created a large enterprise that copied humans is the symbol of this city. The final battle point of Blade Runner is also in this city. At this time, the decadent aura of the city also reached its highest point.
Stripped of the colorful neon disguise, the city (fatal feminine) finally revealed her true corrupt nature.
In the decisive battle scene at the end of the film, the rain almost poured down.
An almost Freudian attachment to water. The empty black streets (even the streets of Los Angeles) are almost always shining with the light of the new rain at night, and the amount of rainfall and the development of the drama increase simultaneously. --Paul Schrader—
The importance of film noir notes as a role, the urban intention in Blade Runner is clearly beyond doubt, but the functionality of the role—who framed her?? Who brought black fate?? This will be added later with the victimized white male...
I hid in a dark shadow, took a full breath, and gave a long howl. The anger of a gray wolf was howling, hungry, and lonely, far away from home. , Ready to do a lot of hard work — Raymond Chandler, the killer in the rain
Who is the victimized white male character in Blade Runner?? Who is burdened with an irresistible fate?? Who was guilty of being seduced by the fatal feminine? More directly~~ Who is the tragedy in this film? Sex characters??
Hong Ling explained the role of Roy in the article "Humanity After the Dark Light", the masculine Roy, the original model of the devil and the archetype of the tragic Oedipus villain... Roy and Deca The interaction is more vivid and vividly laid out the indescribable queer transsexual exchange of sexual desires, the non-human Roy, with fierce burning (such as bright candlelight) transgender mutant male flesh, defeated (and conquered) the surviving normal physiological man , Rewriting the typical fatal femininity into a fatal (and Greek tragic) masculine aesthetic... (For the full text, please refer to the film noir topic of movie appreciation)
Brother’s explanation is novel and bold, but I want to examine it from another angle. It is the function of the character to inspect.
Roy may be fatal but by no means feminine, but can it be regarded as a reform of the noir genre? Let's take a look at the function of this character in film noir. Does he lead others to fall or tempt others to sink? Did he give others the fate of darkness, did he collude or represent some dark organization?? The
answer is actually no, except that Roy is as charming as the black woman, he has the same function as the fatal feminine character. few.
I think Roy's role in Blade Runner should be the victim/criminal white male role in the film noir.
The beginning of the film is like Los Angeles burning with hellfire.
Although it is not stated clearly, it is indeed Roy's eyes, looking at the beautiful and deadly dark city like infatuation.
The victimized/criminal white male character must fight against the tragic fate that cannot be resisted, and be guilty of the fatal feminine temptation/framework, both of which Roy can meet---Roy’s inability to resist the tragedy’s fate is that his life is limited to four years The code of Tyrell is that Tyrell Enterprise gave him this dark destiny, and the pyramid building of Tyrell Enterprise is also a symbol of this city (fatal feminine). His pyramid shape also metaphors the bloody slave society nature under its glamorous appearance.
Photo explanation: The world looking up from the elevator skylight is
Roy , the supreme who expelled him, bravely confronted his fate. The people he killed were all from Tyrell Enterprise. This scene was when he killed Tyrell, the owner of the pyramid, and the innocent. After Sebastian, in the elevator, the top light first shone on his head, then his face was buried in the shadows, turning his back on the light from above, the elevator slowly descended. At this time, it is a sign that this prodigal son is sinking like Lucifer (proud, rebellion is like Dr. Tyrell of his heavenly father).
Roy could not save his fate. This religious top light was illusory to him
. Roy sank into the dark shadows. He turned his back on the illumination from the sky. The
Lord God said: That person is already similar to us and can know good and evil. ; Now I am afraid that he stretches out his hand and picks the fruit of the tree of life to eat, and he will live forever. Genesis-2-22.
For Dr. Tyrell who created Roy or the human beings who claim to be above them, having intelligence is already a unique gift for copying humans, and wanting the code of life is simply one for human beings like the creator. Such an overstepping is just like Jehovah's punishment of mankind in Genesis, and the end is to be expelled from the Garden of Eden.
The closer the film is to the end, the more complicated the use of blinds like the double claim is.
I think the usage here is the scene that really echoes the fatal embrace of Neff and Phyllis at the end of the double claim.
The two were chasing and fleeing in this building of this city, but it was this city that really hunted the two of them.
The fatal female cast beams of light through the bars to peep through the black detective
. It was this city that wanted Roy's life, and Deckard was forced by the city's organization to hunt and kill Roy's
Director's Blade Runner, which even hinted that Deckard was also a copy. people.
This clearly puts Deckard and Roy on the same side-the opposite of city/sin (fatal feminine).
Photo explanation: The black detective is about to fall into the feminine gap in the deadly city.
Seeing that the perished victimized white male can't solve the black detective---the city simply went out to solve XD by himself. Instead, the victim/criminal white male saved the black detective.
Like Neff, the victimized white man could not escape the fate of black in the end, but he had completed his own salvation. At the last moment, he was cleansed of his sins. Compared with the tempted Neff, Roy deserves more sympathy and more. The brilliance makes it impossible to look directly at him. He pursues the code of life and is unwilling to succumb to the attitude of fate. At the last moment, he even transfers his love of life to his mortal enemy. The role of Roy has elevated the role of the victim in one fell swoop. The type of image burns him so brilliantly, and surpasses any role in this film.
Roy is a complicated character. For film noir, he is a victim cursed by a fatal femininity; to the replicator, he is like Spartacus who led the slave uprising; to Dr. Tyrell, he is a Proud and arrogant fallen angel and he is also a self-transcending existentialist. Blade Runner has become a meaningful movie because of the contradictions and richness of this role.
Roy and Spartacus not only have the same identity, but also have surprisingly similar appearances.
The Future-noir movie Blade Runner is full of post-modern imagery. Not only does it show its capitalist industry with its magnificent urban landscape, it also exudes ubiquitous advertising and neon lights. The breath of late capitalism in its consumer culture. In this future world where everything can be manufactured artificially and bought with money, people use consumer behavior to numb their current lives, and everyone lives like a copy of human beings—on the contrary, copying people live more like humans than human beings. There is no place in the clones that is not a commodity under the consumer culture—except for the heart, but they embrace the present life here and now more closely than any human being. They are basically commodities, or are defined as commodities. The reason why they are "forced to retire" is because the commodity is defective—they don't want to be just a commodity, so the copy becomes a waste of civilization—garbage.
Roy finally saved the Blade Runner Deckard who chased them, but also saved himself. He transferred his attachment to life to the enemy who wanted to put him to death. Through the display of such empathy (or unintelligible reasons), he surpassed the low-level standard of judging whether to become a person with artificial instruments. He became a real human being. Roy, who was dying like a lone wolf, read the following verse
I've seen things, you people wouldn't believe, hmmm.
... attack ships on fire off the shoulder of Orion.
I've watched C Beams glitter in the dark near the Tannhauser Gate.
All those moments, will be lost in time like tears in rain..."
... time to die ...
The things I have seen,
you humans absolutely cannot believe.
I witnessed the warship On the edge of the Orion constellation, there is a fire burning, and
you can see the beautiful light of sparks on the sea.
However, these will disappear in an instant,
like tears in raindrops....
(Translated by Hong Ling) At
this moment The exchange of life and death, blurred music, and beautiful verses sublimated this moment into the most moving scene in film history.
Deckard was confused and surprised, and finally taught him the meaning of life, a copy that was regarded as a defective product.
And from Roy's hands What flew away seemed to be the soul he had finally completed the redemption.
In the story of the little puppet, Pinocchio finally learned to be honest, brave, and unselfish, and became a human being. Perhaps we should escape the obsession of being human. At the last moment, Roy has surpassed all of this. In the torrent, no matter how long an individual's existence is, it is insignificant, just like tears in the rain.
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