'he is ze perfekt replikant'

I went to The Astor's Friday screening of Blade Runner, the Final Cut.
This version of the film is Ridley Scott's completion of his earlier Director's Cut, for most of which he was absent due to shooting Thelma and Louise, and hence the messiness of that cut of the film. Thus, the Final Cut is his definitive version.
The advantage of seeing Blade Runner - the Final Cut at the cinema, digitally restored and screened with a digital projector was precisely that - seeing the film big, with some of the most amazing visuals of any film ever shot really brought to life. The film still looks amazing! It is such a lavish vision and partly because it was shot in 1982. Films with a similar level of visual detail, complexity and sophistication are quite common these days but this is a film from the early eighties. It's twenty-five years old and it hasn't dated a bit.
As for the aspects of the film that Scott changed or added, there's not a lot to commend here in my opinion. I've watched the Director's Cut a good fifteen times and was able to spot most of the differences although some of them were so subtle I didn't spot them. The extra violence wasn't particularly necessary and changing Roy's, " I want more life, Fucker," to "I want more life, Father," needlessly labours the metaphor.
But all of this is beside the point: for a film that was already an incredibly immersive aesthetic experience, the digital vision and sound refinement has really enhanced both the spectacle and the messages at the depth. At last night's screening, for the first time, I really picked up on the subtle differences and commonalities between all of the replicants contained in the film for the first time.
And as for the question regarding the ambiguity or otherwise of Deckard's replicant status, I am prepared to agree with the notion that this has been left somewhat ambiguous but I think it's ambiguous not because Scott wanted to leave doubt in the viewers' minds so much as because of his deft directorial touch - he really knows how to show and not state. That is, the ambiguity is a corollary of his direction and not a moot narrative point, per se.
In addition, a friend once said to me that Deckard's being a replicant added nothing to the narrative and was thus superfluous. I can think of several rebuffs to this, but the most poignant for me regards Deckard being a Replicant as a thematic rather than narrative concern. Believing Deckard to have been a human throughout the entirety of the film until the very end really underscores the post-humanity of the film incredibly powerfully. I reckon. And no, I don't think this is tautologous.
Anyway, a wonderful film experience made sublime.
now playing: alec empire - lash the 90ties