Thirty-Day Movie Challenge: Day Twenty-Two

Think we’ll get to thirty before the end of this year?

That’s the plan, so be kind enough to forgive a little repetition. I’ll try to break things up with a poem.

2012 is breathing down my neck, and I’m not going for a mixed bag kind of year (like this one). I hope that will be most strongly be reflected in what I do creatively.

We’ll see. I’m vicious and optimistic these days, or at least I’m more of those two things than I have been for a long time.

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30 Day Movie Challenge

Day Twenty-Two: Film You Wish You Could Live In:

Blade Runner (1982)
Directed by: Ridley Scott
Starring: Harrison Ford, Rutger Hauer, Sean Young

Blade Runner is a great movie. I want to say I first saw it on TV as a kid, but the truth is that I just can’t remember the time or place. I don’t know the time or place matter to me. I guess I just like to trace the chronology of when I first saw a movie to what I think of it now. That’s the only explanation I can think of. People love to define things, create timelines, and I like doing with even the most casual or mundane things.

I don’t remember the where and when of Blade Runner (as is the case with a good portion of the movies I’ve chosen for this list), but I remember being sucked into the world of this film about a minute in. I think the biggest reason why I’ve seen it so many times over the past twenty years is because of that strange, beautiful, terrifying and contradictory city. It’s a weird, chaotic mash-up of film noir, futurism, New York, Gotham City, Hong Kong, Hell and probably a wide array of other influences that are lost on me. I’m not shocked that the famous “Nighthawks” painting was part of that visual influence on the film. I’ve spent most of my writing career trying to recreate. I don’t think I’ve ever come close. I don’t have the budget, but it also doesn’t help very much that I also don’t have the imagination. That’s not meant to be a self-deprecating comment. It’s just a question of limitations. I can only watch a movie like Blade Runner, be completely spellbound by its universe and then carry that over into my own creativity as best I can. I don’t mind failing. Being engaged that strongly by sometimes is enough for me.

Don’t  worry. There’s still Build-a-Bear Workshops.

Blade Runner is quickly approaching its thirty-year anniversary.  It will have passed the mark by this time next year. I don’t see those thirty years as much as I possibly should. It could be a bias on my part that I’m rarely aware of what age may or may not have done to my favorite films. Is that a bad thing? Does it hurt my opinion to see a movie the same way I saw it ten, fifteen or even twenty years ago? I really can’t say. That’s likely a question I should try to answer through the essays and reviews I write about film, but I’m not sure how to go about that. All I can do is watch something again, and see what parts of my standing opinion have held up, it and what might have changed.

This one is no exception to that, and very little about it has changed for me. I don’t think it’s shown very much age at all, if any. That could be due to the noir plot, one of the more enduring story arches out there. It’s been said that Robert Mitchum was originally the guy in mind when the script was being written by co-author Hampton Fancher. I don’t have a lot of trouble believing that. Mitchum was a legend of the noir films. The fact that the script was written for that kind of actor and persona reflects not only the casting of Harrison Ford (who is phenomenal) but of the film’s grim, rainy atmosphere as well. It’s also reflected in the other characters represented throughout. The movie is, of course, tied pretty strongly to science fiction roots as well, and those two genres exist in almost every character. Science fiction has leant itself well to noir on many occasions. Strong supporting performances from Sean Young (as the noir dame in distress), Rutger Hauer (who doesn’t need to work very hard at making me believe that he is at all times moments away from a killing spree), Daryl Hannah (the hard-luck gal for this story), M. Emmett Walsh (as the sleazy cop), William Sanderson and Joe Turkel round things out. Style aside, it just wouldn’t be a great movie without their performances with the support of a great screenplay. I’d probably still watch it though. Having these other things just enables me to love it on more than one level.

It’s not a detriment that the great screenplay comes from an even greater story, by the iconic Phillip K. Dick, whose stories continue to find relevance long after his death (and Dick reportedly approved of the script before passing) constructed the blueprint for everything this film is. The heart and humanity within his story survived to make its way into the movie adaptation, and that has helped Blade Runner be more than just a dated science fiction movie.

The cast (especially Ford) and writing have large roles in Blade Runner’s endurance. I’m grateful they exist to give the movie depth and soul, but I suppose I always come back to the city. The tone and visual impact of the movie is the biggest reason why I can be pulled into this turbulent weirdness as though it’s the first time. I occasionally feel like we’re beginning to see little bits of pieces of Blade Runner in the world today. I know, I know. We still don’t have those cars, but I do feel like we’re getting closer to this kind of cold, garbled and confused reality. We’re not too far off from having cities that match Blade Runner in terms of size, scope and dangerous eccentricity. I’ve kicked around the country enough to have the suspicion fueled and inflated. Travel is one of my great passions. It’s on that small list of things I’m relatively good at. Getting lost in the shuffle of the film’s neon dementia would be a hell of a fun way to spend a few years. I might want to leave after that, but I kind of doubt it.

The fact that this is such an amazing film in every regard helps watching it for the twentieth or thirtieth time considerably, but the infinite potential for imagination that can be found in its backdrops would keep me watching even if the rest of the movie failed to compare. There isn’t another movie I can think of that has so beautifully captured the contradiction of a city that is both a technological marvel and a hopeless throwback all at the same time. Those familiar with my writing know it’s my kind of town.

Reportedly, director Ridley Scott is at work on a sequel. That’s fine. I’m sure today’s technology could take what Blade Runner showed us and multiply that dazzle by a thousand. It might be a worthy successor, or it might not be. I’m sure I’ll go see it, and I’m sure I’ll hope that it’s a successful continuation of not only Blade Runner’s great writing, directing and acting, but of this universe that is critical to my own creative leanings as ever before. I can still be amazed.

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