BLADE RUNNER (1982)

Neha says
If you’re a sci-fi geek, listen up! BLADE RUNNER (1982) has to be a part of your Holy Grail. Today no matter what avatar sci-fi may take, no matter how many zillions of dollars are spent into developing technology and special effects-BLADE RUNNER is a timely reminder that special effects can complement story and not compensate for one.

What Blade Runner does so fantastically, even by today’s standards is combine effects with a provocative story to give us a thrilling “time –out” from the realities of life, transporting us to a futuristic 2019 (not that futuristic from where we stand today) that mesmerizes with its surreal yet eerie vistas. Watch out for the visual palette that combines elements of 1940’s film noir, neon lights and dazzling effects; revel in the beauty of each shot composition; relish Ridley Scott’s dynamic use of music and sound effects that clearly provide the emotional cues but more importantly give the film wonderfully dark and thrilling overtones.

Semi retired detective Deckard (Harrison Ford) is forced back to work to track down and kill a group of 5 missing, genetically created replicants. Replicants as the name suggests look like humans and behave like them in every way except they have a life span of only four years and don’t have real memories. These replicants led by Roy Batty (Rutger Hauer) are looking for the mastermind that created them to prolong their life span. But as Scott’s narrative goes into detective thriller mode with Deckard hunting them down one by one and killing them, it finally culminates into a chilling and brutal face-off between Deckard and Batty and a more sympathetic understanding of their cause for survival.

The true glory of Scott’s screenplay is Roy Batty, a more controlled version of the Joker but equally scary. Hauer makes Batty vulnerable and terrifying, moving from cold and mysterious to sympathetic to psychopathic that it’s truly a riveting transformation to behold. Harrison Ford as Indiana Jones or Deckard works a personality into his characters even if they are not as in this case the most dramatically empowered. There are some ambiguities to his background but Ford manages to work through it competently.

Scott understands what it means to give us a ‘cinematic adventure’ and so he paces his film accordingly with a hypnotic energy to each scene that just allows you to sit back and absorb the atmosphere, the spectacle and the thematic complexity of his storytelling. Blade Runner makes you contemplate about ideas like immortality, identity, self-awareness, memories and the handicaps of technological and capitalistic excess. Scott uses his characters as tools to philosophically muse over the nature of humanity itself and the relationship between the creator and his creation and the poetic role reversal of it where we see the creation triumphant and the creator helpless. The climax brings all these themes together and in a powerful monologue from Batty we understand the meaning of existence.

We’ve seen Hollywood wrestle with these themes time and again but Blade Runner’s influence remains unparalleled. Scott’s just got his pulse on how he wants his story and characters to unfold. Its thrilling edge never wavers; its thematic complexity adds richness to his storytelling, the characters belong to this time and space and along with the visual spectacle you’re in so deep that even the few missteps don’t distract you from what is essentially a deeply philosophical, thinking man’s sci-fi movie experience.

Ira says
An esoteric, engaging experience.

Blade Runner. Bllladde. Run-ner. You can’t deny there is something weird about the title and the ring it has to it. There’s also something weird about those haunting opening credits, the eerie music and that power-packed interview that starts the film. Blue eyed, straight jacketed, white faced, non-blinking interviewee (replicant, LEON) versus upright, suit sporting, cigarette smoking interviewer (regular human cop, HOLDEN) and some funny questions about tortoises and mothers. Till boom, someone’s shot dead.

Now that I think about it, while we know there are good guys and bad guys who form the crux of the plot here, there’s a whole lot that’s weird, freaky and strange about this one. In fact, for the first hour I would be surprised if you really knew what’s even going on (all right fans, I don’t mean on the 5th or 6th viewing and I didn’t say I didn’t know what’s going on).

Like Nexus 6 replicant ROY, hisses in his clipped, monosyllabic way to a lil old Chinese, genetic eye doctor about 10 minutes into the film, “questions”. Precisely what you are full of. As the opening scroll begins, describing the context for the film and the implications of genetic evolution, biomedicine, human beings and their replicant others in a hypothetical version of earth, SCOTT takes u into a bleak vision of Los Angeles circa 2019. Only his second feature after ALIEN, you can see that even while SCOTT experiments with his storytelling, his attention to detail is fascinating. And that’s why even if the plot feels fuzzy at first, you slowly succumb to the vision and world. A world that is at once familiar yet strange, old fashioned and sepia tinted yet modern and steely, brightly lit yet shadowy and stark, as cluttered as it is isolating, technology infused yet cold and police driven, individuality-less, almost artificial and very surreal. The slow pace doesn’t help, and you may find yourself saying, “What is going on here?”

Why is HF, (Harrisson Ford), an action hero and Indian Jones star, doing this odd sci fi movie out of the blue and why does his voice sound three times deeper than it usually does? Who is this JF (Sebastian), a mysterious little man who lives alone in an even more mysterious old dwelling that’s full of odd creatures he has ‘genetically’ created and whom he affectionately calls his friends? (the one and only time I laughed out in this one was when one of his friends, a dwarf dressed as a military soldier, bumps into a doorway) Why is there a strong Asian presence permeating the fabric of the film? Be it the larger than life face of an Asian woman in a televised advertisement on a building, or our hero eating at an Asian noodle bar, or how much of the action is centered around futuristic LA’s Chinatown, or the hardly speaking Asian police officer who has a fetish for making paper figures, and who strikingly sums up much of the film in a final scene.

This one is full of questions and leaves many hanging. But that’s the secret. You think. You’re confused. You’re waiting for it all to make sense, pick up, and go somewhere. And it does.

Because what you also cant deny is how SCOTT pulls you in hook, line and sinker into this bizarre and captivating universe where his characters become the very story and move you with their personal journeys. Hitting you with images of sci fi and futuristic designs that the 80’s in Hollywood had never seen, be it through magnificent set pieces or fabulous costumes, Scott creates an edgy, brooding; frightening atmosphere where graphic novel meets noir meets punk. Making you at the same time, question some very basic, very disturbing, very frightening ideas of humanity and what it is to be human. One of the most powerful scenes that stirred some of these in me is the one between human FORD & replicant RACHEL in his house beautifully shot and beautifully scored musically. JF’s crazy house and a somewhat different understanding of humanity and love follow, in the scene just after, between the replicants ROY, PRIS and JF himself, later extending into the climax in the stunning Tyrell corporation.

Thrusting you with silences, a fantastic, rich and very eclectic sound score and characters who, whether you like it or not, mesmerize you and are very very hard to shake off, SCOTT takes you on a truly unique, thought provoking, and rich sci fi thriller ride and does it often, quietly.

There is nothing ordinary, normal, and lighthearted about this one. Its almost as if Ford conveys that dark question mark hanging in your mind through his eyes and his performance; at the end will all be well? Who knows. For all its flaws and complexities, its slow pace, its often puzzling narrative, BLADE RUNNER is visually rich, arrestingly performed and thematically intriguing; a film that will make you think, a film you cannot resist and one you will not forget. One thing is for sure, each time you watch it, you will get more and you just might realize as I have, that that itself is worth it!

** The film boils down to its central characters and by the end of hour 1 and the beginning of hour 2, you are part of their worlds as keenly as you could ever be however much you can or cannot understand them. I was bowled over by ROY and FORD, and Hannah, Tyrell, and RACHEL come close behind inhabiting their roles with mystery, intensity and conviction.

YANKEE DOODLE DANDY (1942)

Neha says
A Neha Sareen Disclaimer: When we talk “biopics” we immediately look for whether it’s faithful? Are the key events or the character in question accurately depicted? How’s the real story been tweaked? I’m proudly a victim of this school of thought as well. But in the case of George M. Cohan who belongs to a whole different black and white era, I’d probably have to time travel back to the 40’s for my facts. I know what your thinking-Use the internet girl! But just this once I simply want to bask in the cinematic vision of this Broadway showman- a writer, composer, singer, director, choreographer and producer-needless to say a one-stop wonder and let’s just keep aside the authenticity of the material and focus on the cinematic magic it provides.

Yankee Doodle Dandy is a musical masterpiece that combines a foot tapping, fist pumping, lip smacking musical soundtrack with an equally electrifying background score and a majestic performance from James Cagney and equally charming supporting turns from Joan Leslie, Walter Huston, Richard Whorf to give us a truly uplifting, melodious, entertaining and engaging time at the movies. Could I use any more flattering adjectives to get my point across? Inspirational Songs like “Over there” and “You’re a grand old flag”, lilting tunes like” So long, Mary”, “Forty five minutes from Broadway”, the title track “Yankee Doodle Dandy” and many more are at once hum worthy, catchy and have a timeless flavor to them. So even if you’re not familiar with the album and that could very likely be the case-it takes just about 60 seconds for the spell to be cast.

We first meet George Cohan (James Cagney) in a comical musical act where he plays the President. Post the extremely well-received show, Cohan is a little nervous at the prospect of going to the White House-a request from the “head man” himself. In the Oval office, sitting opposite the President, George Cohan goes back in time through flash backs to his childhood-from the day he was born (a delicious irony that it happens to be the 4TH of July) to the way in which his parents Jerry and Nellie (Walter Huston and Rosemary DeCamp) induct him into the world of theatre and the performing arts. That’s followed up by his vane and precocious boyhood days as the 11 year old star of “Peck’s Bad Boy” (young George played by Douglas Croft) to the formation and rise of the family theatre troupe “The Four Cohans.” Then comes his meeting and fascination for the young, aspiring stage actress Mary (Joan Leslie) who also goes on to become his soul mate and wife, to his rendezvous with Broadway where he teams up with Sam Harris (Richard Whorf) to produce and perform in hit, sensational musicals, to his inspiring compositions that went on to become army slogans to the death of his parents and his retirement to his return to stage. And at the end of nearly two hours of flash back we’re right back where we started- at the Oval Office where we finally understand why the President invited him.

Some call this a “war musical” but sorry pundits I beg to differ. Yes it’s got the back drop of war, a dimension that only kicks into gear in the second half. Yes it’s got patriotic music that becomes an important plot line that leaves you emotionally wired but for the most part it’s a character story of a true-blue, immensely glamorous PERSONALITY and his love affair with Broadway. Someone who’s cocky and arrogant but who’s also socially in tune with his times and loves America and its war heroes. George M. Cohan was literally born a star and while the stage defines him, he’s equally carved by his relationships. His father’s understated envy, his mother’s inability to raise a hand, his love for his parents and his heartwarming gestures, his unspoken understanding with his wife- all of these angles have been sensitively yet playfully handled by director Micheal Curtiz. Be it the big moments or the small ones there are just too many memorable scenes packed in here to even start counting.

I was surprised by how contemporary this black and white movie felt. Apart from the modern use of language and delivery, the situational comedy here is not niche’ screw ball or “time bound” but truly funny and witty even in a Robert Downey Jr world context. If you ask me this film’s a little too low down on the AFI list and deserves to be propped up a few notches for the sheer audacity of James Cagney’s riveting performance; for his entertaining dance moves; for the sweeping confidence with which Curtiz directs and controls his story telling; for the wonderful balance of drama, humor and music; for its infectious energy and for the spectacle, feel good factor and sheer entertainment on offer. Love it and will revisit it again and again but it’s such a hard DVD to find that I hope I don’t run mine out too soon.


Ira says
One things for sure, the next time I’m in new York, and I’m walking down Times Square I am going to stop by a bronze statue I’ve probably passed a hundred times before but never really looked at, tip my metaphorical hat, and perhaps do a little jig. Being an actor, and having grown up in a world full of auditoriums, greenrooms, brochures, and stage lights, I can tell you one thing, the hardest thing in the world is to get the theatre and that absolute rush of a live performance out of your blood. And nobody knew that better than James Cagney oops, GEORGE M COHAN. The ‘song and dance boy’ who started out with his family in the act called the 4 Cohans and grew to become a sensation on Broadway. The man who is today considered one of the country’s most beloved entertainers and the pioneer of musical theatre. My slip up above in the names there feels almost warranted because Oscar winner for best Actor, Cagney really becomes the man in an endearing, multifaceted performance here. It’s hard not to get caught up in his charm, his moves, his cocky one-liners, his melodies and his fervent patriotism.

In fact, it’s hard not to get caught up in the film for all the above qualities too! The prolific Michael Curtiz (Casablanca) directs with a lively levity and an upbeat energy, much like the man George M Cohan himself and really hands over the reigns to Cagney whose performance carries the show from start to finish. Cagney sings, dances, grins, and charms ensuring nothing ever wears us down, even when the film takes on a more somber tone post the war. That’s also because music drives the story forward and keeps it moving as the man sweeps across cities and theatres of the nation. Like the recent Ray’s and The Doors and so many other musical biopics, this one succeeds in recreating the mood and tone of its time period with some absolutely delightful songs and entertaining moments. Moving in a series of flashbacks, liked how the writing manages to balance the external showmanship, the routines and public performances with a keen sense of what’s going on behind the scenes and fleshes out Cohan the man, and all his relationships which for me were some of the most humorous, touching and interesting parts of the film.

While the narrative tends to jump around a bit, here are some of my favorites; the scene where Cohan first meets Mary in his dressing room and fools her into believing he’s an old man in real life when he was only 21 at the time; all the family live act routines; the quieter moments between Mary and Cohan as they grow older together, and between his family, his partner and him, all of which really give you a glimpse into a man who had an incredible amount of self confidence and positive energy. In a wonderful moment of dramatic irony Cohan, (always inoffensively full of himself) encounters another showman of the time Eddie Foy looking at a life size poster of one of Cohan’s productions and their conversation plays out like an old fashioned battle where false praise and veiled censure replace punches and fisticuffs. Later towards the end, as Cohan grows old and retires to his farm, a group of young kids drop by to use his well for their broken car engine. This new generation, humming to the tunes of swing doesn’t recognize the man, or even know of him. Both the above nuggets, one of classic mistaken identity and the other of the passage of time are lighthearted but important illustrations of the fleeting nature of an actor’s success and the underside of showbiz. While the first celebrates Cohan the legend who never faced commercial failure, the second gently reminds us not to forget him.

The world of the stage as we know has its starlets and divas, its premadonna’s and showstoppers, and Cohan’s biggest strength was always that he had a pulse on the hearts of average Americans and that he used his artistic sensibilities in simple, accessible, culturally meaningful ways. At the same time, he was ready to look and act a fool, as any good uninhibited theatre actor is! Yankee Doodle Dandy entertains and enlightens and Cohan’s rise to stardom was also a huge testimony to America’s rags to riches stories. In his words, when a journalist (and its very interesting that the press feature only once in the film, and instead Curtiz uses newspaper headlines, references to reviews, the shining lights of Broadway and archival footage to indicate Cohan’s growing success and obvious popularity) asks him how he does it, he says, ‘I am an ordinary guy and I know what ordinary guys like’. The biggest food for thought for me? When Cohan’s only non-musical, dramatic play, (ironically named “popularity”) is deemed a disastrous critical failure, finally after a long run, he decides to call it a day. Time passes, the theatre lures him back one final time, and after a heartwarming meeting with the American president, (where the film begins) just when you think things have winded down, the film leaves you with something far more joyous. An image of Cohan marching alongside a parade band member, listening to the rousing melody of his song “Over there”, the war anthem for Americans during the First World War, tells you stronger than ever that this isn’t just an entertaining showbiz success story but the story of a socially responsible artist; a rare combination. George M Cohan is a man whose ‘popularity’ will and should live on.