I realized how often I must have seen Blade Runner (all the different cuts, too) when I sat down for its 2049 incarnation and felt compelled to watch out for a myriad little details, to see if they where different, if they were just a stale rip-off, or something else. Blade Runner 2049 was a movie that couldn’t possibly win from my perspective: I wanted it to be the same, and I wanted it to be vastly different. Most of all I didn’t want it to be like all those awful sequels I had to mentally disengage myself from over the last years.
I would have been shocked to learn that it did work out after all, only I didn’t have the attention to spare: I was glued to the screen for nearly all of its close to three hours. You’d expect to grow impatient with its meditative pace, but there’s so much tension from the beginning, so much going on under the surface of those poetic images that I almost never felt it lingered too long. It’s the much needed trust in your story and the engagement of your audience’s thoughts that so many other movies lack. It provides the blank spaces and the time you need to tell your own story. Its use of light and color, objects and scenery is powerful, but never heavy-handed.
And the nods to the original are subtle, not the bland rebranded quotes we’ve come to expect. They’re mostly in the visuals and thematic variations. I’m not sure if the story would work entirely on its own, without the groundwork of the first film. To me, it doesn’t matter, because the themes of Blade Runner were extrapolated upon in meaningful ways and adapted to our age of late capitalism and hidden slavery.
But – here come the nitpicks – in 2049, the Blade Runner world still runs on patriarchy. It’s a white man’s (or male replicant’s) world with beautiful virtual girlfriends and replicant sex workers, all there to be enjoyed by our hero. But what if Lt. Joshi (Robin Wright as another complex, super tough woman, yeah) walks home after an exhausting day on the job and wants a come-on from a hot giant holo-boy? Didn’t see one of those lounging in the bleak urban canyons …
And while we’re at it: for Wallace (Jared Leto as another overdone lunatic, meh), I couldn’t see any motivation, he was just your off-the-shelf self-absorbed tech tycoon and his were the only scenes where I wished the film would have mercy and just move on. Bespectacled and mickey-mouse-hairlined Tyrell wins this one easily.
There was no Roy Batty and no tears in the rain either, and that’s a flaw in every movie out there – but apart from that, Blade Runner 2049 was so much more than I had hoped for: a feast of muted colors and beautiful cinematography, an exploration of humanity and its relationship with the other(ed), a story to take away some overwhelming artificial memories from.
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Fun fact: This trailer seems to tell a somewhat diverging story, differently emphasized. I can’t see how this would be better, but let those gazillion different cuts come already!