Miscellaneous Shots that I liked
This shot has a very wide field of view, which distorts the space and gives a certain feeling of unease. This is right after we see Sebastian’s apartment for the first time, and his bio-robots great him at the entrance.
Zhora’s death. The several layers of glass with all the neon-lights reflected on them added to the dramatic climax of this chase. As the character falls down to her death, the shards reflect all the lights and collapse around her. This was a great way to add emotion to the scene.
As F.J Sebastian tells Roy and Taffey about how he contributed to their creation, the two of them stand close to each other as children, looking up at Sebastian. This shot allows the audience to sympathize with the two replicants, who are after all, very young.
This shot comes after Deckard’s dream with the unicorn. The shadow on the wall seems to form the silhouette of a horse, possible adding more clues to the possibility of Deckard being a replicant himself.
Approaching the end of the film, Deckard climbs up the stairs to J.F Sebastian’s apartment, where he is going to terminate Taffey. The wide depth of field and the low angle make us look at Deckard as ascending to his climatic moment in the film.
After Deckard kills Taffey, Roy arrives at the apartment to find her dead. In that moment, the synthesis of the film begins. Roy becomes the hunter, and Deckard becomes the prey. As Deckard tries to run away from Roy, we see him go through old and destroyed rooms in the building. This still shows Deckard finding his way barred by wooden boards. The light passing though the boards creates a feeling of enclosure. Deckard is trapped and for the first time in the film, he is the one in danger and fear.
In one of the most symbolic moments of the film, Roy feels his hand failing. He is reaching the end of his short life. This is when he pushes a nail into his hand, prophesising his eminent messianic sacrifice. Again, a perfect example of storytelling through visuals.
As Deckard hangs hopelessly from the terrace, in which we know is the climactic moment between his life and death; Roy stands high above. As we look down on Deckard, who has now become the victim, we look up on Roy. The smoke and light behind him, shaping him dark and powerful.
The very organic blood on his face, the extreme close up on his face and eyes and the way the backlight separates him from the background, make this shot very engaging, as it draws the audience into feeling admiration and fear towards Roy.
As Deckard is falling to his certain death, Roy saves him by grabbing his wrist on time. As Roy pulls Deckard up, we see the nail on his hand. Roy becomes a Christ-like symbol, and saves Deckard, even though he “sinned” by killing the other three replicants and chasing Roy himself.
Roy then lets Deckard fall safely on the floor and stands above him for a few seconds. The shot focuses on Deckard and cuts Roy from the waist up. Deckard breathes heavily, looking up at Roy, who rises above the frame itself.
Roy then sits down, lowering himself to Deckard’s level. Human and replicant, standing as equals. The close up on Deckard brings the audience closer to him, while the medium shot on Roy distances him from Deckard, symbolizing his distance from the sins of humanity.
In his final moments, Roy mentions some of the incredible and unique things he has seen, finally asserting his existence as meaningful and as real as any human’s. In this shot, he lowers his head into the shadows as he dies. The rain pouring over him washes away his life and his eyes close forever. No back light makes him seem like he’s slightly dissolving into the background.
As he dies, the white dove he was holding flies up. The low angle makes the audience look up at the dove, which can represent Roy’s soul being lift to heaven.
You can see part 1 of my analysis here.
