Blade Runner 2049 Review

With a movie so much about memories at hand, I would deem it the most inappropriate to not let you, dear reader, to not partake in one of mine while we are talking about it. While I was six of age, I was standing in a line to get my book checked by my English teacher. In front of me was a girl, and by God, she was the most beautiful thing I had laid eyes on till then. Quite unacquainted in these quandaries (as I should have been at six, and unfortunately, as I still am), I took the approach which had been tried and tested and had the indelible approval of Bollywood on it – I dropped my books. And guess what ? Cliches exist for a reason. She did bend down and help me pick up those worthless books ! I thanked her and smiled, and the motion was duly reciprocated. I introduced myself and so did she, and that was all that took for me to fall in love with her. And then ? Nothing. I never could muster the courage nor an approach to use it for, and as it always does, life happened. A decade later, she has shifted to far away, has a boyfriend and as far as I know, is quite happy with him, and I, well, I am talking movies to y’all. Over the years, I have revisited this above memory now and then, or to put it more correctly, this memory has revisited me now and then. For all the disappointment it holds, I still treasure it for the singular perfection is seemed to hold and the promise of much more. But more than that, it is that feeling of it which transcends words, so rare as if in the likeness of one of those misty halos that sometimes are made visible by spectral illumination of moonshine. This memory is what K (Ryan Gosling) would have died for, for in all its messiness, it is still as profound as the sound of bells in a Christian county. All that pain is all there is to be human.

With a pace reminiscent of a river eroding a rock, 2049 is beauty in the midst of all imperfections. It is a hybrid of science fiction, film noir, detective thriller, bounty hunter, western and a love story, that is to say it hasn’t strayed a bit from its origins. I could never write a proper review for the predecessor, instead resorting to hide my inadequacy in a mishmash study of its groundbreaking world with that of Cuaron’s Children of Men. So it comes off as no surprise that I can’t write a proper one for the sequel as well, yet for wholly different reasons. In the original Blade Runner, it was the imperfections that drew me in. I have rarely revisited it for its heartbreaking climax or for the ambiguity on whether Deckard is a replicant or not. No, more often than not, I find myself switching off my sound system when I watch Blade Runner and just let that eclectic visual style wash over me.

The towering skyscrapers of  2049 strain upward, gasping for air through the polluted skies. Sinister alleys and dark, cavelike crannies conceal unspeakable crimes against humanity. Nature has gone berserk, deluging the teeming city with an almost constant downpour. Smoke, steam and fog add to the fumigated congestion. It is a city of dreadful night, punctuated by neon signs in day-glo colors, cheap Orientalized billboards and a profusion of advertising come-ons with hunks of long-discarded machinery littering the landscape. The music by Zimmer provides no relief from the oppressive gloom, throbbing with eerie sounds, echoes, pounding pistons and the noises of flying vehicles shuttling through the poisonous atmosphere. Yet, through the eyes of the great Roger Deakins, the settings can be sinister and terrifying, or strikingly beautiful like an enchanted landscape depending upon the character focused on.

Denis Villeneuve, who has ascended to the ranks of Hollywood elite in a sparse amount of years, has incited criticisms for a number of reasons but character development has never been one of them. The love story, unlike its predecessor, stays with you, deeply involving us in the struggle of these lovers to feel love. When the Deckard angle enters, it does not feel like a forced attempt to cash in on the nostalgia of the original but rather to relieve it, and even better, comprehend it a bit more.

But the question here, and I am sure you are rather impatient about it by now, is whether it is as good as the original or not ? Objectively, no. Subjectively, yes. And this is because ignoring all the faults I singled out, which are too technical and boring to jot down here, I find a reflection of me in these characters longing to love yet finding no one to. I am not too sure to advertise my opinion since it is too fickle, but it is what it is and that is all I can manage to get onto a paper as well. Well, I guess I am only human.

But regardless of whether my judgement is a fallacy or not, go to the biggest screen you can find and experience 2049. Whether you like to admit it or not, the return of the world of Philip Dick to the screen is not just another movie, it is a cinematic event. So recline in your seat, forgetting the overblown air conditioning, that annoying couple getting to second base behind and the ever meddling Censor Board. Recline a bit more and let the lights, the sound and the emotions wash over you, and find yourself in the midst of the city choking on its own technology.

Personally speaking, as I always am, 2049 is everything I have wanted science fiction to be :- universal in its scope and personal in appeal.

THANKS FOR READING. IF YOU HAVE LIKED/HAVE DIFFERENT VIEWS / HAVE ANY  DOUBTS, PLEASE SHARE. I WILL RESPOND TO IT AS SOON AS I CAN. AND PLEASE SUBSCRIBE FOR MORE. YOU CAN FOLLOW ME ON MY FACEBOOK PAGE TOO https://www.facebook.com/profile.php?id=100011549616628YOU CAN ALSO E-MAIL ME ON castlebang786@gmail.com OR favebook2011@rediffmail.com

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Copyright : All written content on this site, unless otherwise noted, has been created by the website owner. As such, the content is the property of the website owner. This content is protected by Indian and international copyright laws. If you wish to reproduce, re-post, or display any of our content on your own site please only do so if you also provide a link back to the source page on this website and properly attribute authorship. Our preference is that you seek our permission before doing so. If you see anything on this website that has not been properly attributed to its originator please contact me. In response, I will attempt to correct the attribution of the offending material or remove and/or replace it. All material on this website is posted in accordance with the limitations set forward by the Information Technology Act, 2000. If a documented copyright owner so requests, their material will be removed from published display, although the author reserves the right to provide linkage to that material or to a source for that material. As a website devoted to discussing and reviewing movies and television I will at times, for illustrative purposes, present copyrighted material, the use of which might not always be specifically authorized by the copyright owner. Such material is made available  for purposes such as criticism, comment, and research. The website owner believes that this constitutes a “fair use” of any such copyrighted material because the articles published on this website are distributed for entertainment purposes

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Magnolia Review

I am sure that all those who write about movies have an inherent hesitancy about writing about their absolute favorites as I am sure that ten dimes make a dollar. It emanates from an n number of factors, ranging from the fear of not doing justice to their love for that work of art to not being able to delve into the technicalities while keeping emotions at bay. But most importantly, it is that dread of giving away too much of yourself to the reader, for in the imperfections of one’s favorite songs or movies or books lies the hard-hitting truth to the base of one’s own existence. It is this very trepidation that has delayed this post long overdue as well, but I realize I cannot go through a single more day without my conscience haunting me for not talking about Magnolia. My movie.

Clocking in at 188 minutes, Paul Thomas Anderson’s Magnolia, like all great movies seems too short. It is a mosaic of a plethora of characters suffering from Capgras delusions with their own identities, with emotions building up in a whirlwind to a point where they all seem like a full cup that the least motion might overbrim.

A more conventional director might have assigned these endlessly fascinating characters at his disposal with a hard-lined plot, confining them to a cumbersome narrative with all their motives laid out and their behavior explained. Paul Thomas Anderson, who is one of the greatest directors to have ever lived, is a breath of fresh air. He knows how fast audience thinks and how emotions contain their own explanations. Here Anderson appears almost naked before his audience, a man unable to conceal the depth of his own vision.

The structure furthermore contributes to our lack of satisfaction in whatever answers we think we encounter. But the hint at a snap solution is too broad and juxtaposition too obvious. We instantaneously reject any easy putting together of two and two and suspect a five. But time and time, Magnolia makes a gesture to itself as a source of discovery and meaning. The response of the audience is a suspicion of an invitation to start figuring out and putting together the enigma with the camera’s collaboration. Yet can one possibly attribute a final meaning to it, or is the very absurdity of a rain of frogs a shout-out to the human mystery that can never be solved ?

The world of Magnolia and the characters which firmly inhabit it are an illusion of their own. Most would find it hard to appreciate it in their first viewing, being misled from the crux of it by the facade of coincidences and chance and rain of frogs and what not. Dissatisfied by a movie that would rather evoke than supply. But what Anderson does here, and does only to the knowledge of those who see through the act he is putting up and destroying simultaneously, is an attempt to reach more deeply than that: to reach beneath the surface, and find the soul in need. I have always understood the elusiveness, and over the years even come to respect it as well, for there is an evident semi-autobiographical vein here. It is no secret that the frames belong to the storyteller and one would only want the most understanding to be held worthy of having a pert of oneself. When it draws towards commencement, Anderson’s world seems complete, and all the viewer can bring to it is his admiration.

At the end of the day, it is a movie about pain. About a bunch of souls trying to convince themselves over and over about the identities the world has imposed on them, yet breaking away from it as they do so and being understandably, petrified of the thought of finding themselves. It is about parents for whom the children are the abusers and they, the victims and about children who know better. It is about those who live without love and how it devastates them. It is thankfully also about a few who thank God for their good lives and forgiveness if they ever happen to not love it enough. It is about the entirety of ‘life’ and all that the word encompasses.

Love stories are about those who find love in happy times. Tragedies are about those who find love in unhappy times. Magnolia belongs to the latter, yet when it ends, it leaves me exhilarated about my existence, greedy for living it for it so bluntly reinforces the truth that we try to evade – that all that we take with us when we die is the regret for all that we could have done when we were alive.

There are very few times when the vision of a director works on the same wavelength as yours, striking a chord which leaves you with an out-of-body experience at the theater. When Magnolia came to its denouement, it was the closest I had ever been to knowing what a complete stranger truly feels, as if Paul Thomas Anderson was an individual I had once acquainted and then long forgotten. I believe it is primarily why it is my favorite movie of all time, and will continue to be in the future as well. The moment it ended, with that heartbreaking smile of Claudia’s, was the closest I had ever come to a communion with God. I was aware of his existence then, of his presence in every human being, and such a moment has evaded me long since then. I look for it every time I watch a movie, finding traces of it in some, yet the entirety of that experience still remains alien to me. If I was ever given the choice of carrying a moment of my life to the grave, I would most probably choose the very one which has found its way in the above lines.

It is the general belief, and a correct one too, that writing works which end with a quote work better. Whatever you have to say in closure, almost all the times someone else has said it better. Here, I quote Francois Truffaut, who while talking about Jules & Jim said all that I think Paul Thomas Anderson could have about Magnolia – “I begin a film believing it will be amusing — and along the way I notice that only sadness can save it.”

RATING :- 10 / 10

THANKS FOR READING. IF YOU HAVE LIKED/HAVE DIFFERENT VIEWS / HAVE ANY  DOUBTS, PLEASE SHARE. I WILL RESPOND TO IT AS SOON AS I CAN. AND PLEASE SUBSCRIBE FOR MORE. YOU CAN FOLLOW ME ON MY FACEBOOK PAGE TOO https://www.facebook.com/profile.php?id=100011549616628YOU CAN ALSO E-MAIL ME ON castlebang786@gmail.com OR favebook2011@rediffmail.com

Photo Rights : Google Images, Wikipedia

Copyright : All written content on this site, unless otherwise noted, has been created by the website owner. As such, the content is the property of the website owner. This content is protected by Indian and international copyright laws. If you wish to reproduce, re-post, or display any of our content on your own site please only do so if you also provide a link back to the source page on this website and properly attribute authorship. Our preference is that you seek our permission before doing so. If you see anything on this website that has not been properly attributed to its originator please contact me. In response, I will attempt to correct the attribution of the offending material or remove and/or replace it. All material on this website is posted in accordance with the limitations set forward by the Information Technology Act, 2000. If a documented copyright owner so requests, their material will be removed from published display, although the author reserves the right to provide linkage to that material or to a source for that material. As a website devoted to discussing and reviewing movies and television I will at times, for illustrative purposes, present copyrighted material, the use of which might not always be specifically authorized by the copyright owner. Such material is made available  for purposes such as criticism, comment, and research. The website owner believes that this constitutes a “fair use” of any such copyrighted material because the articles published on this website are distributed for entertainment purposes