Comme les larmes dans la pluie : au sujet de l’intemporalité de Blade Runner
▻http://www.theguardian.com/film/2015/mar/14/why-blade-runner-is-timeless?CMP=fb_gu
Tyrell is the Murdochian head of the Tyrell Corporation; one of the good guesses Blade Runner made about the future is that it would not be governments, but corporations who would really run things. Indebtedness to commercial power depersonalises the people in this film: more even than dispensable workers, the replicants are not makers of the product, they are the product; otherwise Deckard is a man scoured out by being a functionary on behalf of what he himself names “the business”. Against this dehumanisation, first the replicants and then Deckard strive to create ways that will restore the personal to their lives. Leon attempts to do so by clinging to photographs; one of the key things that Ridley Scott brings to Philip K Dick’s story is an attention to film itself, and to how it makes meaning for us. Leon’s sentimental snapshots are lit like the paintings of Edward Hopper, though in them the human figures are almost absent, obscured by gloom, hidden in mirrors. Film would hold on to such fugitive moments, screening remembrance for us. Otherwise memories are lost, as Roy tell us, “like tears in rain”; but are his memories real or artificially implanted ones? Are the photographs that decorate Deckard’s piano authentic or fake?
