Blade Runner: Deckard Retiring Pris Analysis
Over the years Ridley Scott’s Blade Runner has become a cult classic in the science fiction and film noir genre. The film covers a wide variety of reoccurring themes and motifs throughout the entire film, such as the most noticeable ones like the reoccurring eyes representing the window to the soul and the origami figures symbolizing artificial representation. While those motifs are on the surface and are relatively noticeable to the first time viewer, other themes are not so obvious and won’t appear until reviewing the movie over several times. As one begins to break down Blade Runner from scene to scene, they will discover these larger underlining themes seamlessly woven into the mise en scene
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that correlate to the entire film and give it a deeper meaning. Through the use of different film techniques and the mise en scene, the scene of Deckard retiring Pris is a prime example of this; it develops the major themes of animalistic behavior, commodification, and isolation. One of the biggest themes developed in the scene of Deckard retiring Pris is animalistic behavior. During this sequence she takes on the characteristics of several different animals, which is shown through the makeup, props, hair, sound design, timing and lighting in the scene. As Pris waits for Deckard to arrive at Sebastian’s apartment she stares off in the distance in an extreme close up shot, with her eyes painted like a raccoon representing the slyness of her character. Her head is turned to the left as she stares ahead, but this is interrupted when she suddenly flicks her head towards the camera like a cat who just heard it’s prey and is waiting for it to approach. When Deckard walks in, a wide shot is shown of the toy room, and the mise en scene is revealed. The composition shows the room and how Pris turns into a chameleon blending into the environment of the toys, dolls, and mannequins around her. The deep focus exposes a monkey dangling in the background that was possibly placed there to foreshadow her monkey like behavior when she jumps on Deckard’s shoulders and begins to pull and smack his head. When she attacks him her hair sticks straight up like a cat when it fights or feels threatened, however the camera is at a low angle to show that she is still in control. No words are exchanged during this entire scene, just impact sound effects and animalistic grunts which further dehumanizes her. In the end, Deckard shoots her and she flops around on the floor resembling a fish out of water; which is ultimately what she is, as a replicant she will never be seen as a person who belongs in that world. It is evident that the director really wanted to emphasize this moment, the shot is slowed down and drawn out with hard blue lights from outside flashing on her further dramatizing it as she flops around. Another theme that is formed during this scene is the idea of commodification, which appears through the mise en scene and diegetic sound.
The toy room is filmed with soft lighting giving it a dreamy appearance, it has warm pink tones which is a distinct contrast to the low-key lighting and darker, cooler tones of the rest of the movie. This juxtaposition of color tones reveal how the replicants, like the toys, aren’t seen as being part of the real world which is represented in dark tones, but a part of a fantasy one. The wide shot of Pris being surrounded by all the toys and mannequins, forces us to compare her to her surroundings and to see her as just a commodity like one of the toys. Almost all of the mannequins and dolls heads are faced down possibly to represent the oppression the replicants face and how they have no power in a world ruled by humans. This can be seen because replicants were ultimately created for cheap labor and to be sold for different things, such as Pris being a pleasure model. Her wardrobe, the provocative body suits she wears highlights what was instilled in her programming from the start and ultimately dehumanizes her. In addition to her wardrobe, the clear veil she wears to hide under can represent how she is completely trapped in the situation of being a replicant, and how she can clearly see there is no way to escape it. Adding to this feeling is the reoccurring sound of one of the toys laughing in the room, which seems to be mocking her
situation. A third theme that is further expanded on in the scene of Deckard and Pris’ confrontation is isolation. From the very beginning of the scene you get the feeling of being isolated, the building is completely desolate and the heavy shadows and hard blue light leaking in add to the melancholy tone. The shots are set up making Deckard look small as he walks in the building and up the stairs. The diegetic sound of water dripping/ running and the occasional recording from outside combined with the non-diegetic eerie sound effect that plays every few seconds adds to the feeling of loneliness. Even in the toy room blocking is used in the cinematography to trap Deckard into the situation, showing how he is forced into this situation of retiring replicants. Deckard is always framed to where he looks trapped, whether it’s with the doors when he first walks into the apartment or with the toys themselves and furniture blocking him in as he walks around inside. On the other side, at the end of the scene Roy exemplifies this motif of isolation as well. After discovering that Pris is dead, he takes a moment to kiss her; and in a close-up shot, where you can see the emotion in his face clearly he comes to the realization that he is the last of his kind. All in all, the film Blade Runner has many underlying themes and motifs that can be interpreted many different ways. These ideas are carefully woven together in every scene to add coherence and a deeper meaning to the overall film. In analyzing the scene between Pris and Deckard, a few of the main themes were animalistic behavior, commodification like dolls, and isolation. The director uses the mise en scene and different film techniques to indirectly tell the viewer more about the story, when they take the time to break the scenes down and analyze them. Glossary 1. Blocking – Framing your subject with the use of props, furniture, or other people. 2. Composition – The composition is how the framing is set up and the props, set dressing, and people are positioned in an area. 3. Diegetic Sound – Sounds included inside the story world. 4. Hard Lighting – The lighting is more intense causing harsh shadows, it is placed close to the subject. 5. Low Key Lighting- Produces an image with high contrast and lots of shadows. It can be achieved by increasing the intensity of the fill relative to the key light source. 6. Mise en Scene – The combination of the setting, person, composition, lighting and cinematography to create the atmosphere of a film. 7. Motif – A motif is a recurring theme or idea that could be concrete or abstract. 8. Non-Diegetic Sound – Sounds outside of the story world, that is usually included to help narrate. 9. Soft Lighting – Usually from a large light source it gives a more flattering look by softening up the picture.
I'd be working in a place like this if I could afford a real snake?"
In Bladerunner the most prominent element of cinematography is mise en scéne. It generates a context for the film and therefore makes the plot and themes acceptable. To set an appropriate scene different variables need to be controlled. These variables include location, props, lighting and colour. In general the location of the plot is in the vast urban canyons of 2019 LA. The imposing dark buildings, the dirty fog, perpetual rain and the crowded dark streets devoid of vegetation make up the backdrop of most scenes. All this is filmed in dark lighting, which complements the effect produced by the fog in obscuring the living details. From this the responder acknowledges the deterioration of society, the harsh conditions that the humans are subjected to and the way the human spirit itself is progressively destroyed under such conditions.
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Will Brooker. “Reel Toads and Imaginary Cites: Philip K. Dick, Blade Runner and the Contemporary Science Fiction Movie. (London: Wallflower Press. 2005)
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