jaspamaster: (Me 70's-80's)
Its amazing that a film thats literally 25 years old after almost a first week of its run on a Saturday night can get a near full house at the zigfield theater in NYC that applauds with vigor at the opening credit of the tree with Run Run shaws production name and then keeps quiet till vigorous applause again at the end credits so you don't miss a single moment of the film, I do love New York film audiences!

Loved it.

Its like a whole new film and it makes sense.

I saw the last directors cut which was still a bit muddled the voice over removed but the imagery and the extra footage at that time just did not seem to be enough, more cut in but with out feeling like it had been integrated.

The new version holy wow.

First off hes managed to bring out a lot of the background dialog thats been buried in the last few version Gaf (Olmos) talks exclusively in the lingo of the street and it comes out finally and with the extra footage and background sound seems to make the Mise en scène just pop out.

The 4 themes Vision, where do we come from, mortality, what is human now connect up and make way more sense Roy (Hauer) meets his three fathers and kills them in a hamlet/Oedipus inspired patricide Chews eyes JF Sebastian decrepitude time clock and Tyrels passion and brilliance. All tied together nicely by the dreams that make them human.
The meeting your maker scene feels more complete and makes visual sense now even if its more gory and Sebastions attempts to escape fit in much better, he always seemed to disappear in the previous version and while you know he died you don't get much of the feeling of it.
This could be me overlaying my own impressions and I do have to pop in my directors cut version and take a look to see if I am seeing what I think I am here

Gafs little origami ties in nicely now with the dreams especially when you realize that just like Deckard knowing Rachel's dreams he knows of Deckards the unicorn, the last origami message he gives at the end with the voice over of “It's too bad she won't live! But then again, who does?” now really ties in on the larger scale of not just that she has limited time but so does he with the open ended question that we don't live forever we know that Deckard is a replicant or just human and what is human is the question of the movie itself.

The costuming also stands out with the now clear themes I think in hindsight the voice over was way to influential it forced us to not see what was in the film but to form our opinions based on what was being said not shown.
I was more aware of how the Replicants costuming makes them seem more like Dolls than people Rachels over the top perfect makeup which is finally smudged and striped away during the love scene Roys bad boy leathers zhoras animalistic amazon warrior garb with breast plate and cape we even have Deckard in his Film Noir detective togs which at the end makes even more sense as were informed of what he is.

*The digital enhancing of the stunt person crashing through the windows with Cassidys face I think changes that sequence from gratuitous violence to the more sympathetic and emotive visual he wanted as she crashed like some shattered plastic butterfly through the windows. The extra footage around the club scene fleshes out the society and gives the sequence a more languid air thats shattered by the fight and subsequent retirement, something the original cut didn't have feeling very abrupt and compressed.

[livejournal.com profile] viviane212
 Informs me that they didn't just digitally airbrush Cassidys face onto the stunt persons face but re-shot sections of the death scene with Cassidy for this release

The general cleanup digitally of the various shot and special effect goofs and continuity blunders brings the world into a sharper more believable focus the wire removal from the police spinners just jumps those set shots into another world. I am blown away that outside of model shots and matte painting and optical motion control special effects nothing in this film that the actors interacted with, the spinners the Television phones the guns and the sets were digitally created they were in a very specific sense real.

The spinners were props that could be hoisted into the air by crane and reacted to by the actors the street environment extended for a couple of blocks and was totally immersive no small stretch of pavement for the actors to walk down on a green screen set as they pretend to be in this rainy futuristic environment.

If anything the Art design stands the test of time unlike any other futuristic film having spawned many of the trends it predicts in terms of technology and architecture all hail Syd Mead.

I think I may see it again Thursday


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September 2009

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