WHAT FILMS HAVE YOU SEEN LATELY?

[Mr. Arkadin]

Blade Runner: The Final Cut (2007)

I watched: Blade Runner (1982) several times soon after its release and I liked it very much.

It has been perhaps fifteen years since I have watched it so I am sorry to say that I do not remember such details that I can compare the original to this version.

I do have a sense that this version is more linear and would be easy for a non-science-fiction person to follow and understand. This is in particular true of the ending.

I would normally hesitate to recommend: Blade Runner (1982) to a non-science-fiction person because of necessary knowledge of certain tropes but I will recommend this version because all is very plain in it.

One thing that has remained the same for me in watching the movie after such a long absence is the desire to administer the Voight-Kampff Test to certain people.

Blade Runner is one of my favorite movies and I now consider it a classic film. Some thoughts from older threads:


There are actually four different cuts of the film. When Ridley Scott's original workprint was shown at previews, many people (who only came to see Ford because of Star Wars) could not understand the film at all and the depressing ending really upset viewers.

Remember, these newer Ford fans had latched on to his successful works with Lucas and Spielberg, which were more simplistic and upbeat. Therefore, the studio (which had invested 20 million and a lot of blood, sweat, and tears) demanded changes. The film's unicorn dream sequence was cut, a "happy ending" tacked on, and a voice over (which Ford hated and performed badly, hoping it would be unusable), was added, which seemed to fare better at the previews.

When the film played in theaters, it bombed, but the new medium of VHS and Laserdisc created a rediscovery and cult-like status. In 1992, someone found Ridley's original cut workprint and started showing it in theaters (this workprint did not have the unicorn). Ridley got permission to clean up the print, add the unicorn, and issue a new VHS/DVD as the official Directors Cut.

There had been an International Cut floating around also. This print was like the original, but had a bit more gore (the scene where Roy Batty shoves a nail through his hand [obvious allusion to crucifixion] is more graphic) and Ridley wanted to add these elements while fixing some original problems, such as the scene where Batty releases the dove into a blue sky instead of the rain soaked night (they discovered doves couldn't fly when they were wet!). Thus, the Final Cut came into being. So what should you see? I recommend the Directors or Final cut (the differences are minimal).

Blade Runner is a film that has its feet in two worlds (along with Godard's Alphaville [1965]), where the dark humanity of film noir collides with the heavy morality of science fiction, creating a synthesis that is futuristic, but familiar. This same concept applies to Vangelis incredible scoring, where he combines acoustic and electronic instruments in allusion to the movie's "real" and "artificial" characters. Above all, Ridley's film questions the idea of what constitutes person in an eroding society of creators and their creations.

[youtube][/youtube]

For those who don't mind a little reading, I highly recommend these two books:


Future Noir: The Making of Blade Runner
http://tinyurl.com/y3hkqsx

Retrofitting Blade Runner: Issues in Ridley Scott's Blade Runner and Phillip K. Dick's Do Androids Dream of Electric Sheep?
http://tinyurl.com/y2dwoh6

[RedRiver]

(LIBELED LADY) Pretty good? My lad, it is funny

I'll buy that. It's a fine movie. As for my desert island comedies, I'll get back to you when I have more time. What is with all this WORK all of a sudden? Like that's what they pay me for!

[CineMaven]

Ann Harding & William Powell

I wish this movie had a better title; “DOUBLE HARNESS” makes me think of a horse racing movie. Ann Harding is going to treat marriage like a commodity; like a business...you know, the way men treat business. Of course she’s way off the beam here because marriage is not like stocks and bonds and ships and corporations. ( Hey wait...maybe Harding is light years ahead of her time what with our current Supreme Court ruling that Corporations ARE people. Nahhh...that can’t be right, can it? ) Marriage is about love and trust and human commitment. Don't worry, she’ll learn her lesson.

I like the cold sensible way Harding decides to go about hooking William Powell. She wants to marry him, but she doesn’t love him. She'll work on making him successful. She talks dispassionately about this marriage thing to her shocked kid sister ( Lucile Browne. ) Harding and William Powell are perfect together. Adult, mature, on equal footing. Powell is really suave and debonair. He’s a ladies man; a ‘player’ the kids today might say. I like him with the edge. I don’t like him when he’s silly. In this movie, he’s pretty clear about his freedom and likes things status quo. He does swoop in there to initiate kisses. As Harding’s in the bedroom getting into something "more comfortable", another woman stops by Powell’s place. He likes to play the field alright, but he doesn’t want all the players to know each other. But check out Harding...she’s cool enough NOT to blow his cover. Being caught by her father ( Henry Stephenson ) in Powell’s apartment is a big time embarrassment, and Powell is pressured to do the right thing. The right thing. Ha! It’s as though he’s lost a bet at a men’s club and must pay his debt. He’s none to happy about it, but accepts his punishment like a good sport and marries her.

This is a tad mind-blowing to me because though Powell’s...hand might be caught in the cookie jar, there was no “bun in the oven.” I didn’t see why this plot point’s used to get him to marry her. I do grudgingly understand the movie convention of it ( trying not to look at it with 21st century eyes ) and it shows me how serious the consequences are. Harding and Powell are not two crazy impetuous kids. But ANY pre-marital knowledge was enough for a lockdown. The die is cast, and “Here Comes the Bride” plays like a death march.



HENRY STEPHENSON: "Got your eye on him, Joanie?"
ANN HARDING: "He seems to be favoring me with a little flicker of interest. And I've been told the Lord helps those who help themselves."

The second half of the story is interesting. Harding realizes she’s fallen in love with the man her father has pressured to marry her. Soooooooo, what was supposed to be marriage as business arrangement has turned into a gal who’s married to a man who feels trapped. Now SHE must be the good sport, and divorce him. Her theory is shot to hell once love enters the picture. Best laid plans...

Powell undergoes a change himself in this whole thing. Besides being a bit of a player, he’s a bit of a slacker; rich but doesn’t want to work in the family business to maintain things. I like him being a little cavalier...a little spoiled. Not wanting anything to upset the apple cart or crease his dress pants. She gently guides him into working, providing the contacts that will help his business. She eases her way into his household routine especially cooking. ( The quickest way to a man’s heart... and me, inattentively scorching a pot of boiling water. No wonder...nevermind. ) The “Other” Woman is still in the picture and Harding’s smart enough to know she can’t fight her competition while married. Is the movie ultimately about women working our feminine wiles on men no matter how Modern we think we sound?

Harding plays smart so very very well. She’s not coquettish or fluttery. She looks men in the eyes. But her characters want what most women want. She and Mary Astor seem to have the same sort of temperament. Is that crazy to say? I guess I’m thinking of Astor in “Dodsworth.” Couldn’t Ann have played that part...and vice versa for Mary in this movie? There IS something more dewy about Mary. ( Lord help me...I don’t think I have the right words ) but I find Astor and Harding a bit similar in certain roles.

I like and recommend “Double Harness.” Well done, good production values, good acting. Harding and Powell have wonderful chemistry. And even with Willie Hays’ repressively wily ways the movie still manages to be adult.

[mrsl]

,
I saw Frozen and loved it. I wrote about it in the Musicals thread.

[feaito]

Excellent write-up of one of Ann's best films, Tess. I saw this film many years ago and I need to see it again.

[RedRiver]

What are some of your favorite comedies? What would you take on a desert island...besides Sugar?

Maven O'Cinema!

I do like LIBELED LADY. It's cute and flighty; full of spirit. I'm just not filled with admiration for its cleverness the way I am some other comedies. When we get to that island, count on me to bring ANNIE HALL, BALL OF FIRE, HIS GIRL FRIDAY, THE AWFUL TRUTH (we'll have two copies!), CITY LIGHTS and MODERN TIMES. If there's room in my trunk, I'll slip in SULLIVAN'S TRAVELS. If we're counting very serious comedy, THE APARTMENT is my favorite. But that's as much drama as anything else. That's why I like it!

For a couple of stranded castaways, we're going to have a pretty good time!

[JackFavell]

Loved your review of Double Harness, Tee. Yes, I see the Ann Harding/Mary Astor connection - both smart women who don't pull punches, throaty voiced, upright comportment and temperament...straight shooting, steadfast and direct ( but not above a little manipulation to get what they want).

I really didn't like Double Harness when I first saw it. I think I felt Ann's character was too dry. WHAT was I thinking? Maybe I didn't give it my full attention. Ann's suffering in the second half is anything but dry. I love it now. I really like the questions it deals with...the same ones ILLICIT delves into. I think what I like so much about these two films is that they are still relevant today and come at the subject from a (smart) woman's POV. It's refreshing after 80 years of mostly men's viewpoints in film, we still have a few movies told by and about women. Sad that we have to go back to 1933 to find them....

[CineMaven]

What are some of your favorite comedies? What would you take on a desert island...besides Sugar?

Maven O'Cinema!

I do like LIBELED LADY. It's cute and flighty; full of spirit. I'm just not filled with admiration for its cleverness the way I am some other comedies. When we get to that island, count on me to bring ANNIE HALL, BALL OF FIRE, HIS GIRL FRIDAY, THE AWFUL TRUTH (we'll have two copies!), CITY LIGHTS and MODERN TIMES. If there's room in my trunk, I'll slip in SULLIVAN'S TRAVELS. If we're counting very serious comedy, THE APARTMENT is my favorite. But that's as much drama as anything else. That's why I like it!

For a couple of stranded castaways, we're going to have a pretty good time!

Maven 0'Cinema? LOL! I'm Black Irish now. I like your comedy choices, River Man. I guess I can wait to be rescued. And yes...in this instance, I will share my Raisinets!

[CineMaven]

Loved your review of Double Harness, Tee. Yes, I see the Ann Harding/Mary Astor connection - both smart women who don't pull punches, throaty voiced, upright comportment and temperament...straight shooting, steadfast and direct (but not above a little manipulation to get what they want).

Thank you Wen. Nice “seeing” you here. I am loving what you wrote about the qualities of these two fine actresses. First off you validated that I’m not (( too )) crazy to even compare the two. And second, your description is so succinct, on point and well-stated, I wish I could have said it myself. I hope you will allow me to quote you.



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I really didn't like Double Harness when I first saw it. I think I felt Ann's character was too dry. WHAT was I thinking? Maybe I didn't give it my full attention. Ann's suffering in the second half is anything but dry. I love it now. I really like the questions it deals with...the same ones ILLICIT delves into. I think what I like so much about these two films is that they are still relevant today and come at the subject from a (smart) woman's POV. It's refreshing after 80 years of mostly men's viewpoints in film, we still have a few movies told by and about women. Sad that we have to go back to 1933 to find them....

Ha! Sis, you said a mouthful. My question...is a "woman's POV" the same or different from what's usually deemed, "a woman's film". I remember Irene Dunne changing your mind in “Silver Cord.” Good that you’re open TO changing your mind about a film. I recorded “Illicit” but have to watch it. Tsk! Tsk! To think that Frances Marion or Alice Guy-Blaché used to write and direct in film’s beginnings, informing films with their sensibility only to have our voices pretty much muzzled in different ways for a long long time. Amazing.

Here are some lines from “Double Harness” that I particularly liked said by Ann Harding, William Powell, Henry Stephenson and Lucile Browne:

Harding: “So far all the men who’ve wanted to marry me, I haven’t wanted to marry. Of course, if I had a talent like painting or music or writing, it’d be different. But I haven’t. But oh I am really ambitious to accomplish something. So I’ve decided my only chance is to marry a man with a future. Make his future mine.”
____________

Powell: “Do you want me to lie or tell you the truth?”
Harding: “Go on lie. I want to believe you.”
____________

Browne: “I’ll only get married once, Dad. At least with all the trappings.”
Stephenson: “If you have another wedding you’ll have to do it on alimony.”
____________

Stephenson: “You’re the steady dependable one.”
Harding: “I wouldn’t count on that anymore, Darling. I’m thinking of going frivolous on you any minute.”
____________

Stephenson: “Got your eye on him, Joanie?”
Harding: “He seems to be favoring me with a little flicker of interest, and I’ve been told the Lord helps those who help themselves.”
____________

Harding: “Marriage has nothing to do with love. Marriage is a business. At least it’s a woman’s business. And love is an emotion. A man doesn’t let emotion interfere with his business and if more women would learn not to let emotion interfere with this, fewer of them would end up in divorce court”
____________

Harding: “I have to admit that I’m completely enamored of you. Have been for years.”
Powell: “You’ve kept awfully quiet about it.”
Harding: “Too much competition. I knew I never had a chance.”
Powell: “Well now that you have your chance, I trust you’ll make the most of it.”

[RedRiver]

Nice collage, my fellow cine-castaway!

[CineMaven]

Thank you Red. Now remember...castaways can't live by DVDs alone. We're going to need food, shelter and matches. Oh...and lotsa lotsa batteries:

[Fossy]

I have just revisited Double Harness. Originally I thought that, although beautiful, Ann Harding was a bit of a cold fish. That has not changed. Nevertheless I found the movie enjoyable. I think the show would perhaps have been better if she had shown more distress when she had appeared to have lost her husband to a former mistress.

Also William Powell seems to have appeared as a great lover in a number of movies. I don`t know why, but then I am not a woman.

[RedRiver]

Don't worry, Maven. I have a radio that just happens to be playing the news we need to hear, THE MINUTE I turn it on!

[CineMaven]

Great Red. Lets just not get rescued before we finish watching all the DVDs.

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Call me shameless. But I guess I’ll jump at any opportunity to bring up FRANCES GIFFORD.



Today is the perfect opportunity to check her out in two films starring TCM's Star of the Day: JOHN HODIAK. See her in "Marriage Is A Private Affair." Yeah, it's Lana's picture but Gifford does a good supporting job and has a fantastic breakdown scene later in the movie. Marriage must have been especially tough during WWII with many husbands and beaus out fighting for Uncle Sam.

The second film stars Gifford in "The Arnelo Affair" talked about here at the Oasis. Gifford faces off squarely with the irresistable Hodiak in this one, as a lonely, neglected wife who is very tempted to have an affair with the attentive, ardent but shady bad boy.



Frances Gifford was one of those actresses who plugged along at M-G-M. And just because she appeared in some not-so-great movies, doesn't mean she didn't shine.

[RedRiver]

I'm convinced the best actors are people we've never even heard of.