PhotoPlus Expo 2017

I can't remember when I started to go to Photo expo.  There used to be a PC Expo but it's long gone.  When I do something long enough it takes on some extra meaning.  Look at the pictures I took years ago, I could really see the changes over time, not just the industry but myself.  Kodak used to give out free film and then they stopped and then they didn't even bother to show up because they bankrupted or something.  Fuji used to give away film as well.  But they don't bother anymore.  Now they shift their products more on cameras and lenses at least at the expo.  Nikon, Canon and now Sony are the big three in the expo.  Sony is like making some big move in the expo, the space got bigger or at least as big as Canon and Nikon.

Blade Runner and some random thoughts

With the passage of time and the filtration of memory, Blade Runner(1982) has acquired certain mythical sheen in the annals of sci-fi film making.  Blade Runner 2049(2017) further cements and reaffirms the original Blade Runner's inimitable status.

I saw Blade Runner in a theatre when it was first released in 1982.  I was a child (and a pathological liar).  Then many years later in the late 80s I sort of saw it again in the City of Light.  Unbeknownst to me, Deckard became French speaking, a language so foreign to me it might as well be Martian.  I am not sure if I sat through the entire movie listening to Deckard speak French, if I did I wouldn't understand a word uttered from his throat.

I didn't seek out to watch it again until recently when I found out there is a sequel in the offing, I am very susceptible to marketing.  I sought out some pieces of the 1982 Blade Runner on YouTube and then finally in one piece on on-demand what they call the director's or is it the final cut?

Here are some random thoughts.

The cinematic universe of Blade Runner is as futuristic as it's familiar--there are flying vehicles, pay phones with video screens, people continue to hate their job and yearn for retirement; smoking and drinking are common though the former is much restricted in public space than it's depicted on screen.  The cinematic visuals set high water mark for future neo-noirs.  Much ink has been spilled on K's coat in BR 2049.  It's a nice coat apparently.  But Deckard's trench coat just makes more sense evidently as the dystopia that is called LA is perpetually drizzling or pouring.  A trench coat is functional in addition to being detective like.  (As an aside, I think Brad Pitt's Se7en is as much about serial killer as it's about his neck tie, white shirt and trench coat.)  Notice Deckard wears neck ties, a glorified leash in any hierarchical work place, including the LAPD.  The mysterious Gaff and the independently well-off Tyrell prefer bow tie only.  Not only Deckard wears neck ties but they match his print shirts which also echo his apartment's wall tiles, themselves inspired by the Ennis House which in turn was inspired by Mayan architecture.  Deckard's wardrobe is understatedly wild.  K's sartorial choice: a great coat and a monochromatic black pull over.  They are basic like Gap nothing wrong yet nothing to write home about either.

The future can be off or unreal but humanity can't be, even for replicants.  Tyrell says and I paraphrase, the goal is to make replicants more human than human.  He has succeeded beyond his wildest dream. In the final showdown between Deckard and nexus 6 Roy Batty, instead of letting gravity kill Deckard, Batty grabs his arm and pulls him back to the roof top saving Deckard's life: simultaneously and demonstratively showing forgiveness and compassion, two human traits make human human though at times in short supply when it comes to Tyrell or Deckard to the replicants.

When inspector Bryant cajoled and coerced Deckard out of his retirement he says "... He's not good enough, not good as you. I need you, Deck ...  I need the old Blade Runner, I need your magic."  I concur.

Blade Runner 2049

In the New York Times' anatomy of a scene, director Denis Villeneuve painstakingly narrates the scene where Ryan Gosling's K or Joe is about to find and meet his screen forbear, the original Blade Runner Deckard, played by Harrison Ford.  Villeneuve informs us that he reminds Gosling to walk slower, how the garden of giant naked statures of boobs or whatever is designed by some guy, and the sound effect of the buzzing bees and how very careful he selects the music and hence the significance of it for that scene so on and so forth.  Without his explanations, me philistine wouldn't be able to enjoy his movie.

None of this really matters to me except Gosling sure keeps walking slower and slower the entire movie, which is quite an effective way of putting me to sleep.  Thanks to caffeine and the upright cheap seat, I was able to stay half awake through out this 3-hour plus long snooze fest disaster that is called Blade Runner 2049.

In general I am OK or even like Gosling's phlegmatic puppy faced performance.  I imagine it is even an apt for his character, a meek replicant, android, a non human who can't say no to an order.  Ford plays a caricature of his own character whom he played some thirty five years ago.  Ford nowadays just plays any characters he used to play with some mirthless smirks and call it a performance or a day.  I can't wait to see him play Han Solo in the never ending upcoming Star War Episode XXX.

Blade Runner 2049 is pretty much over when it kills off its most potentially interesting character Sapper played by Dave Baustista in the first fifteen minutes of the film.  Me waited thirty five years for this.  Thanks to Denis Villeneuve, the same director who brought us Arrival (2016)-duh!