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Blade Runner's view is not the aggression of the unusual, but the exaltation of its beauty (albeit a deceitful one). Mesmerized, the spectators assist to the show of wonders that awaits them in the near future: aerial views of an infinite and glittering urban landscape, vehicles rising up skyscrapers, huge flaming chimneys and other Pharaonic constructions.

In the film's opening sequence, this whole fantastic landscape is mirrored and devoured by the gelid blue surface of a gigantic eye, indifferent (we suspect) to such magnificence.

THE TELLING EYE


	To watch Blade Runner is to enter a whole new world, both wondrous and nightmarish, where its vision of a future not so distant from us blurs its limits with the distrophy of an alternative underground reality that the cinematography aesthetics has managed to conjure, letting it crawl into our own world with its allegorical and transforming power. This film, directed by Ridley Scott in 1982, and based upon the Philip K. Dicks novel "Do Androids Dream of Electric Sheep?", has become an acknowledged classic of our time having paved its way to the US Congress film archives, and put words such as "postmodernism" and "cyberpunk" into our mouths. Before achieving this level of recognition the film would come a long way, along which it gained the admiration of a legion of fans, as well as the respect from critics and intellectuals, overlapping the initial incomprehension from an important portion of the audience and the media. Even prior to this, skirmishes during the production that was witnessing important differences between the director and the producers, the leading actor and director, and also the discarding and changing of several scripts. Ridley Scott would later bring out the original edition in his "Director's Cut", released in 1992. The final outcome, which is no other than the lasting impression that this suggestive prophecy that the audience has been left with (no matter which version they may have seen), proves that Blade Runner, besides being based on solid creative arguments, has incorporated the mark of certain fortuitous circumstances which are by now not only a part of the film's legend, but also of its own personality. Blade Runner has been considered by many to be a cult film, partly due to its charm of futuristic design, as complex as coherent, where the perspective is not the aggression of the unusual, but the exaltation of its beauty (albeit a deceitful one). Mesmerized, the spectators assist to the show of wonders that awaits them in the near future: aerial views of an infinite and glittering urban landscape, vehicles rising up skyscrapers, huge flaming chimneys and other Pharaonic constructions. In the film's opening sequence this whole fantastic landscape is mirrored and devoured by the gelid blue surface of a gigantic eye, indifferent (we suspect) to such magnificence. The image itself thoroughly expresses the paradox of a story of which it takes little time to unveil the truth of this world. A world completely opposed to that greatness, and counterfeit by mankind's complacency towards its own voracity. In this reality hidden behind an apparent splendour, man has become contented with the fact that nature has been devastated and that he is living among a rapacious culture's waste in the womb of an ethically abominable society. Beauty and decadence confound one another in Blade Runner, and this combination seduces us in a curious manner, involving us in the film's message. Further, the set up is serious enough, as well as embracing and profound enough to have a moving effect on the audience, exposing such universal problems as identity, the purpose of existing and the perception of reality, which have the same importance in 2019, when the film's action takes place, as in our own time.