A human-looking indestructible cyborg is sent from 2029 to 1984 to assassinate a waitress, whose unborn son will lead humanity in a war against the machines, while a soldier from that war is sent to protect her at all costs.
Luke Skywalker joins forces with a Jedi Knight, a cocky pilot, a wookiee and two droids to save the universe from the Empire's world-destroying battle-station, while also attempting to rescue Princess Leia from the evil Darth Vader.
After the rebels have been brutally overpowered by the Empire on their newly established base, Luke Skywalker takes advanced Jedi training with Master Yoda, while his friends are pursued by Darth Vader as part of his plan to capture Luke.
In a cyberpunk vision of the future, man has developed the technology to create replicants, human clones used to serve in the colonies outside Earth but with fixed lifespans. In Los Angeles, 2019, Deckard is a Blade Runner, a cop who specializes in terminating replicants. Originally in retirement, he is forced to re-enter the force when four replicants escape from an off-world colony to Earth. Written by
Graeme Roy <email@example.com>
Translation of entire noodle-bar scene: Upon a seat becoming free at the counter, the Sushi Master (Bob Okazaki) shouts to Deckard (Harrison Ford), "Akimashita, akimashita! Irasshai, irasshai". In Japanese, "Akimashita" is the past tense of "aku", which means 'to become free'; "Irasshai" means "Welcome". So the Sushi Master is pointing at the seat and saying "It's free, it's free. Welcome, welcome". When Deckard approaches the bar, the Master says "Sa dozo", meaning "Come, please", followed by "Nan ni shimasho ka?", meaning, "What'll it be?" When Deckard asks for four, the master replies, "Futatsu de jubun desu yo", meaning "Two is enough" (he repeats this twice). When Gaff (Edward James Olmos) and a uniformed policeman approach Deckard, at first the policeman says, "Hey, idi-wa", Korean for: "Hey, come here". Gaff then says "Monsieur, azonnal kövessen engem bitte". "Monsieur" is French for Sir; "azonnal" is Hungarian for "immediately"; "kövessen" is the Hungarian imperative "to follow"; "engem" means "me"; "bitte" is German for "please". So a translation is "Sir, follow me immediately please". When Deckard tells Gaff that he's got the wrong person, Gaff says "Lófaszt, nehogy már. Te vagy a Blade ... Blade Runner". In Hungarian, "Lófaszt" is a rude expression. "Lo" means "horse" and "fasz" means "prick" or "dick". (The "t" is added at the end because of the rules of Hungarian grammar.) This expression is basically the equivalent of saying "Bullshit" in English. "Nehogy már" means "no way" in English. "Te vagy" means "you are", and "a" means "the". As such, a close literal translation is "Bullshit, no way, you're the Blade...Blade Runner". Gaff then says, "Captain Bryant toka. Me ni omae yo". This is based on Japanese, but is not strictly Japanese in structure. "Captain Bryant toka" is probably a version of "Captain Bryanto ga", meaning, "Captain Bryant is the subject of this sentence". "Me ni mae" means "to meet someone"; "omae" is the informal way of saying "you", and "yo" is simply an exclamation. As such, the translation would be "Captain Bryant. He wants to see you!" See more »
In the scene where Rachel pulls down her hair, while in Deckard's apartment after the Leon fight, her hair goes from straight, to very curly. If her hair was truly that curly, the she would have had to pull her hair straight back and very tightly into a bun, in order for her to hide her curly hair. If her hair had been "straightened" with some form of cosmetics or salon treatment, it would have stayed straight after she let her hair down. See more »
Female announcer over intercom:
Next subject: Kowalski, Leon. Engineer, waste disposal. File section: New employee, six days.
See more »
The opening credits sequence features a detailed, dictionary-style definition of the word Replicant. See more »
This is truly one of the greatest science fiction films ever made, one that requires a thinking viewer in order to understand and appreciate it. The director's cut is the recommended one to see as it omits a somewhat distracting narration and avoids an unnecessary Hollywood-style ending that is at odds with the rest of the film's tone.
A true science fiction story or film is about ideas, not spaceship battles, futuristic gadgets, or weird creatures. "Blade Runner" fully qualifies as this in its examination of the impact of technology on human society, existence, and the very nature of humanity itself. These themes are set in a fairly basic detective story that moves slowly but gradually builds power as the viewer is immersed in a dystopian futuristic Los Angeles.
Harrison Ford fans accustomed to the normally dynamic roles that he plays may be dissatisfied with the seemingly lifeless lead character that he portrays here as the replicant-hunting detective known as a "blade runner". They should be, for this dissatisfaction is part of the film experience, part of the dehumanized existence in the story's setting. However, as the story unfolds, we see Ford's character, Rick Deckard, slowly come alive again and recover some humanity while pursing four escaped replicants.
The replicants, genetically-engineered human cyborgs, that Deckard must hunt down and kill are in many ways more alive than Deckard himself initially. Their escape from an off-world colony has an explicit self-directed purpose, whereas Deckard's life appears to have none other than his job, one that he has tried to give up. By some standards, Deckard and the replicants have thin character development. However, this is a deeply thematic and philosophical film, and as such the characters are the tools of the story's themes. Each character reflects some aspect of humanity or human existence, but they lack others, for each is broken in ways that reflect the broken society in which they live and were conceived/created.
There are several dramatic moments involving life-and-death struggles, but most of these are more subdued than in a normal detective story plot. The film's power is chiefly derived through its stunning visual imagery of a dark futuristic cityscape and its philosophical themes.
Among the themes explored are the following:
The dehumanization of people through a society shaped by technological
and capitalistic excess.
The roles of creator and creation, their mutual enslavement, and their
role reversal, i.e., the creation's triumph over its creator.
The nature of humanity itself: emotions, memory, purpose, desire,
cruelty, technological mastery of environment and universe, mortality, death, and more.
Personal identity and self-awareness.
The meaning of existence.
If you are not someone who naturally enjoys contemplating such themes, the film's brilliance may be lost on you. The climax involves a soliloquy that brings many of the themes together in a simple yet wonderfully poetic way. Anyone who "gets" the film should be moved by this; others will sadly miss the point and may prefer watching some mindless action flick instead.
"Blade Runner" is a masterpiece that deserves recognition and long remembrance in film history.
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