Un agent d'une unité spéciale, un blade runner, doit poursuivre et éliminer les quatre répliquant qui ont volé un navire dans l'espace et sont retournés sur Terre pour trouver leur créateur.Un agent d'une unité spéciale, un blade runner, doit poursuivre et éliminer les quatre répliquant qui ont volé un navire dans l'espace et sont retournés sur Terre pour trouver leur créateur.Un agent d'une unité spéciale, un blade runner, doit poursuivre et éliminer les quatre répliquant qui ont volé un navire dans l'espace et sont retournés sur Terre pour trouver leur créateur.
- Nommé pour 2 oscars
- 13 victoires et 22 nominations au total
Bob Okazaki
- Sushi Master
- (as Robert Okazaki)
The Life and Times of Harrison Ford
The Life and Times of Harrison Ford
Take a look back at Harrison Ford's movie career in photos.
Histoire
Le saviez-vous
- AnecdotesDirector Sir Ridley Scott and director of photography Jordan Cronenweth achieved the famous "shining eyes" effect by using a technique invented by Fritz Lang and his cinematographer Eugen Schüfftan known as the "Schüfftan Process": light is bounced into the actors' and actresses' eyes off a piece of half-mirrored glass mounted at a forty-five-degree angle to the camera.
- Gaffes(at around 9 mins) When we see Deckard waiting for his noodles, he is reading that day's newspaper. Later in Leon's apartment (at around 25 mins), the same newspaper is seen in one of the drawers, except it is old and soiled, as if it has been there for years. We know they are the same since both newspapers have the same headline about farming on the moon.
- Générique farfeluIn the "happy ending" Theatrical/International cuts, the credits play over the gorgeous scenery. In later Director/Final cuts, they play over a normal black background.
- Autres versionsAll U.S video tape releases before January 1993 are the unrated version and contain the extra violence in the Euro-release that's not seen in the 117 minute American theatrical release:
- When Roy attacks Tyrell we clearly see him pushing his thumbs into Tyrell's eyes, and blood spurting out
- When Pris (Daryl Hannah) attacks Deckard, she reaches down and grabs him by the nostrils
- When Deckard shoots Pris, he shoots 3 times instead of 2
- When Roy pushes the nail through his hand, there is a shot of the nail coming through the skin on the other side.
- ConnexionsEdited into 5 Second Movies: Blade Runner (2009)
- Bandes originalesHarps of the Ancient Temples
Composed by Gail Laughton
Performed by Gail Laughton
Courtesy of Laurel Records
Commentaire en vedette
Intriguingly Philosophical
Blade Runner, directed by Ridley Scott and based on Philip K. Dick's novel Do Androids Dream of Electric Sheep, is a Sci-fi slash Noir film about a cop named Rick Deckard (Harrison Ford) in a decrepit 2019 Los Angeles whose job it is to "retire" four genetically engineered syborgues, known as "Replicants". The four fugitives, Pris (Daryl Hannah), Zhora (Joanna Cassidy), Leon (Brion James), and their leader, Roy Batty (Rutger Hauer), have escaped from an off-world colony in order to find their creator and bully him into expanding their pre-determined four year life span. This film originally flopped when it came out in 1982, but since has become a widely acclaimed cult classic with a director's cut to boot. A large part of the success that this movie has received can be attributed to its ability to operate on many different levels.
Ridley Scott's hauntingly possible depiction of what might become of Los Angeles down the line is absolutely brilliant. It captures elements of Noir with its urban atmosphere of decadence, lighting, and characters neither clearly defined as good nor evil. Corruption is everywhere. The garbage-littered streets and permanence of dark and rain give us the sense that we've seriously screwed up the atmosphere, and the impression that all respectable human beings have fled to the off-world colonies, leaving only the scum of the earth behind.
There is a hint of style from the 40's, especially with respect to cars, costumes, and music. Rachael's entire outfit, including her hair, screams the 40's.
The soundtrack, arranged by Vangelis (who won an Oscar for his Chariots of Fire score), consisted mainly of Jazz and Blues. This functioned to represent a dark, moody world of uncertainty and pessimism.
The special effects were exceptional. Much of the set was pulled off using models. In my opinion, sets made by hand require leagues more of skill and are much more impressive and realistic than those computer generated. These guys really knew what they were doing. I was especially fond of the pyramidesque Tyrell Corporation building, which hinted at the god-like presence of Eldon Tyrell (Joe Turkell), the creator.
The script (Hampton Fancher, David Peoples, and of course Phil Dick) worked for me, as well as the actors who gave voice to it. Harrison Ford was well...Harrison Ford. I thought he did a tremendous job down-playing the role. His voice-over narration helped you along, and was yet another feature conducive to Film Noir (apparently this was taken out of the Director's Cut). Rutger Hauer's performance was intense. His lines at the end were intriguingly philosophical. Daryl Hannah's chilling robotic expressions were quite impressive. Joanna Cassidy was just plain hot.
There is more to this film than just pulp. It works on so many remarkable levels. The movie itself is a detective noir quest for the meaning of life in a science fiction environment, but the story is a commentary on what it means to be human and the questions each one of us have about life, like: How long have I to live? Why do I have to die? What happens when I die? Doesn't my maker care? Is this all merely an illusion? At the end of the film we are left to wonder if these Replicants are human, and if Deckard himself is in fact a Replicant. Scott raises more questions here than he answers, and as a result, critics are still debating the mysteries of this film today. In a sense, the ambiguity of Blade Runner is the culprit of its success.
Ridley Scott's hauntingly possible depiction of what might become of Los Angeles down the line is absolutely brilliant. It captures elements of Noir with its urban atmosphere of decadence, lighting, and characters neither clearly defined as good nor evil. Corruption is everywhere. The garbage-littered streets and permanence of dark and rain give us the sense that we've seriously screwed up the atmosphere, and the impression that all respectable human beings have fled to the off-world colonies, leaving only the scum of the earth behind.
There is a hint of style from the 40's, especially with respect to cars, costumes, and music. Rachael's entire outfit, including her hair, screams the 40's.
The soundtrack, arranged by Vangelis (who won an Oscar for his Chariots of Fire score), consisted mainly of Jazz and Blues. This functioned to represent a dark, moody world of uncertainty and pessimism.
The special effects were exceptional. Much of the set was pulled off using models. In my opinion, sets made by hand require leagues more of skill and are much more impressive and realistic than those computer generated. These guys really knew what they were doing. I was especially fond of the pyramidesque Tyrell Corporation building, which hinted at the god-like presence of Eldon Tyrell (Joe Turkell), the creator.
The script (Hampton Fancher, David Peoples, and of course Phil Dick) worked for me, as well as the actors who gave voice to it. Harrison Ford was well...Harrison Ford. I thought he did a tremendous job down-playing the role. His voice-over narration helped you along, and was yet another feature conducive to Film Noir (apparently this was taken out of the Director's Cut). Rutger Hauer's performance was intense. His lines at the end were intriguingly philosophical. Daryl Hannah's chilling robotic expressions were quite impressive. Joanna Cassidy was just plain hot.
There is more to this film than just pulp. It works on so many remarkable levels. The movie itself is a detective noir quest for the meaning of life in a science fiction environment, but the story is a commentary on what it means to be human and the questions each one of us have about life, like: How long have I to live? Why do I have to die? What happens when I die? Doesn't my maker care? Is this all merely an illusion? At the end of the film we are left to wonder if these Replicants are human, and if Deckard himself is in fact a Replicant. Scott raises more questions here than he answers, and as a result, critics are still debating the mysteries of this film today. In a sense, the ambiguity of Blade Runner is the culprit of its success.
utile•414122
- jfitch7
- 6 mars 2001
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Exceptional Robots on Film & TV
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From Transformers to droids and everything in between, these memorable robots made their mark on viewers.
Détails
- Date de sortie
- Pays d’origine
- Site officiel
- Langues
- Aussi connu sous le nom de
- Dangerous Days
- Lieux de tournage
- sociétés de production
- Consultez plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 28 000 000 $ US (estimation)
- Brut – États-Unis et Canada
- 32 914 489 $ US
- Fin de semaine d'ouverture – États-Unis et Canada
- 6 150 002 $ US
- 27 juin 1982
- Brut – à l'échelle mondiale
- 41 754 158 $ US
- Durée1 heure 57 minutes
- Couleur
- Mixage
- Rapport de forme
- 2.39 : 1
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