Thursday, November 09, 2017

Blader runner 2049: a theological film review

Monthly I write a film review for Touchstone (the New Zealand Methodist magazine). Stretching back to 2005, some 120 plus films later, here is the review for November 2017.

Blade runner 2049
A film review by Rev Dr Steve Taylor

4 symbols make a man: A, T, G & C.
I am only two: 1 and 0.

It is a brave person who seeks to reboot a cult classic. Blade Runner directed by Ridley Scott, was released in 1982. It created an entirely believable future, set in 2019, in which humans create replicants to do the dirty work made necessary on a dying planet. When four replicants escape, a complex set of moral questions are raised regarding how to tell human from machine.

Blade Runner became a cult classic, considered by critics as one of the best science fiction movies of all time. They point to the birth of cyber punk as a new genre, in which present concerns are placed in a technologically advanced and dystopian future. They point to the visual sophistication of a future world on earth, the clever use of light and dark by cinematographer Jordan Cronenweth and the music score by Vangeles (since been sampled more than any other film score of the 20th century).

Adding to Blade Runner’s intrigue was a Directors Cut, released ten years after the original in 1992. It removed explanatory voice-overs and added a dream sequence. The result was a further set of questions regarding human identity and the place of memory and myth in a digital world.

Blade Runner was set in 2019. What was a distant date in 1982 is rapidly becoming a present reality. Hence director Denis Villeneuve attempts in Blade Runner 2049 to throw the future another thirty years forward. Acclaimed for the science fiction of Arrival (Praised in Touchstone December 2016), it is a brave person who seeks to reboot a cult classic.

Blade Runner 2049 makes fine work of meeting a set of impossible expectations. It is a standalone movie, visually stunning, musically complex and intellectually stimulating. It makes numerous references to the original, including the return of key characters like Harrison Ford (Deckard), Sean Young (Rachael) and Edward Olmos (Gaff). Yet at 164 minutes, 43 minutes longer than the original, Blade Runner 2049 deserves a director’s cut, starting with the multiple repeated lingering shots of an expressionless Ryan Gosling.

More specifically, Blade Runner needs a female director’s cut. Both movies present a future world created for and by a male gaze. The original involves Deckard engaging in sexual assault, physically forcing himself on an ambivalent Rachael. Blade Runner 2049 offers extensive female nudity, most evident in the advertising hologram Joi (Ana de Armas).

Dystopia invites us to explore the anxieties of our present world. In a month in which the hash tag #metoo has called attention to harassment, we urgently need to explore a future equally shaped by female concerns for the human body and what makes human identity.

Religious themes are present, albeit opaquely, in both movies. The original provides visual references that do theological work, including the presence of stigmata and the release of a white dove. In 2049, religion is verbal, through a range of obscure First Testament-esque quotes. More important than religion are the theological questions regarding the humanity identity, irrespective of whether the future is 2019 or 2049.

Posted by steve at 08:55 PM | Comments (0)

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