This blog post from
Is worth repeating!
You should visit this blog for beautiful noir stuff!
Blade Runner (1982)
Harrison
Ford brings an exquisite moral ambiguity to the character of Richard
Deckard, a man who is tired of killing and hates his job, but cannot
find a way to escape it.
Sean
Young plays Rachael, struggling with her identity, haunted by memories
that may not be her own and afraid that she will discover she is a
replicant.
Rutger Hauer is brilliant as Roy Batty, the replicant leader, willing to fight and kill for the chance to live.
Edward James Olmos is Gaff, the cynical detective who leaves little origami figures wherever he goes and who ropes Deckard into one final Blade Runner task.
Daryl
Hannah is Pris, the "basic pleasure model" who seduces J.F. Sebastian
into providing access to the Tyrell inner sanctum and the replicants'
creator.
The beautiful but deadly Zhora is played by Joanna Cassidy.
Joe Turkel as Dr. Eldon Tyrell, the creator of the Nexus series of replicants.
J.F. Sebastian, who works for Tyrell, and whose hobby is the creation of android toys, is played by William Sanderson.
The cinematography in this film is nothing less than gorgeous. The bluish haze of the city, dirty, wet and gritty, contribute to the noirish atmosphere and the brilliant use of shadow and low camera angles lend it a familiar tone to those familiar will the noir tradition. This is not CGI, either. It was made in 1982, so the effects are all achieved through models.
This
is neither space opera nor post apocalyptic horror story. It is
detective noir set in a grim unappealing future cityscape. It's also a
love story, but a story of lovers afraid of what the truth about
themselves might be. Most of all, this is a philosophical treatise on
what it means to be human and the questions each of us have about life.
How long will I live? Why must I die? What happens when I die? Does
my creator care? At the end of the film we are left wondering if the
replicants are human, and if Deckard himself is a replicant. Scott
raises more questions than he answers, and critics are still debating
the many layers of meaning in this film.