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K’s ‘baseline’ — the measure of psychopathology in replicants — is informed by a litany from Nabokov’s (1962). The first, which has gone without notice so far, relates to another Nabokov text: in Stanley Kubrick’s film, in 1962. Lyon was 17, and Fancher was 25; the marriage lasted until 1965.Many critics have noted this, and it is not a ‘hidden’ aspect of the narrative (Joi actually picks up a copy of the book in K’s apartment). K’s baseline test reintroduces the psychopathy of the replicant from , which arguably, sentimentalizes and undermines Dick’s conception of the androids. I’m going to make some assertions about the genius of Hampton Fancher’s writing, and what it manifests.
In a recent video essay by Lessons from the Screenplay, the use of noir as a framing point for the film is broken down and explored.
READ MORE: ‘Blade Runner 2049’ Trailer With Denis Villeneuve’s Director Commentary Citing three prominent characteristics of film noir, the video essay begins by studying the genre tropes used in the movie to distinguish the presence of a crime.
Its base is inscribed with the date 6-10-21, that he will mistake for his own birthdate. Subtly, it alludes to the enigma of Kaspar Hauser, the feral child without a childhood who wandered into Nuremberg, Germany in May 1828. The replicant is, without transcendent experience, an Orwellian Horse, a slave to duty and its own meaningless death.
Kaspar Hauser had been confined in a dark cell since infancy with nothing to occupy him, except for small wooden horses, toys that were presented to him by a man whose face he never saw, whose identity is not known. Hauser was discovered, he could pronounce only a few words, but was able to speak to the effect of: “I want to be a rider/cavalryman, like my father,” and repeated the word “horse.” The replicant K, in his mistaken identification of Rick Deckard as his father, seems also to have aspired unconsciously to enter his imaginary father’s profession, as a blade runner. In 1975, Dick described “…the horse as a sign for death. The horse connects K to Deckard’s dream of the unicorn in the original is also one/the form of God, Ubik, VALIS, the Logos, etc., in the form of “Zebra.” Zebra is the horse in light and shadow, the divine/satanic, a vision of the present and the hidden.
If this sounds like monomania on my part, then I refer you to as a spiritual/psychic phenomenon in Dick’s life, and as a vast collection of manuscript pages, begins with his vision/encounter with a golden fish sign familiar to Christians.
This he sees on the necklace of a dark-haired girl who arrived at Dick’s home to deliver pharmaceuticals after a dental surgery.
Citing the indiscriminate nature of likable killers and corrupt cops, “Blade Runner” introduces our sympathetic villains as replicants; laborers designated as manufactured sub-humans.
The replicants are framed as criminals but are committing these crimes in the hopes of achieving freedom.
The cops, conversely, ride their power to the point of losing their moral compass.
The final elements revealed in the video essay are how death lingers over the film and the presence of the private detective.