Gladiator, Blade runner and Alien Essay Example

a film should have a captivating hook to capture the audience's interest, along with a key line that can serve as a recurring motif or tagline for advertising. Examples of such lines include "what we do in life echoes in eternity" from Gladiator and "more human than human" from Blade Runner. These lines are somehow related to the film and are woven throughout its entirety. For instance, in Blade Runner, the tagline is connected to the plot as humans have created powerful android clones that now pose a problem for Earth, stemming from the mistake made by Tyrell in giving them excessive power.

Ridley Scott explores multiple genres in his movies, such as sci-fi, horror, thriller, and romance. These genres play a crucial role in establishing the backdrop and mood. For example, a horror film might be set in a graveyard with supernatural spirits, just like the dead Alien on the crashed spaceship in "Alien." In another film directed by Ridley Scott called "Blade Runner," elements of film noir are combined with science fiction.

In a futuristic cyberpunk setting, replicants have been created using advanced technology. These replicants are human clones serving in colonies outside Earth with limited lifespans. The story is set in Los Angeles in 2019 and follows Deckard, a Blade Runner specialized in terminating these replicants. Initially retired, Deckard is forced to resume his work when five replicants escape from an off-world colony and return to Earth. His mission is to locate and eliminate these five replicants who have taken control of a space vessel as they search for their creator.

Film noir is a term used by critics to describe the movie because it

has an appealing quality. The correct pronunciation of film noir is [film nwar], as it comes from the French expression "black cinema." It was borrowed from "roman noir," which refers to gothic horror stories from 19th century England. The film incorporates film noir elements right from the start with a long shot over Los Angeles in 2019. This shot reveals a sprawling and visually impressive modern metropolis, showcasing the advanced machinery and technology used within the city. When viewed from above, this shot presents a seemingly relaxed urban landscape.

A few scenes later, the focus shifts to Deckard at the noodle bar. This scene showcases a distinct contrast. The exterior of the street portrays an old and deteriorating city, with unpleasant weather conditions. The individuals walking in the street are not typical civilians; some of them are replicants. The overall aesthetic and ambiance bears resemblance to film noir elements, such as inclement weather including rain, secluded alleyways, dimly lit rooms, nighttime, and vibrant city lights. This is evident in movies like Alien, Blade Runner, and Gladiator.

Throughout Blade Runner, Ridley Scott utilizes the bond between light and shadows to create an ever-changing atmosphere. The three primary colors are prominently featured in the film, with the lights transitioning from vibrant to dim, constantly keeping the audience on edge and slightly uneasy. Furthermore, the presence of mechanical devices roaming both the city streets and the sky adds to the overall sense of threat. The city itself is depicted as a menacing place, where people are trapped and condemned, effectively capturing the essence of film noir.

Blade Runner establishes a theme and ambiance through its opening credits. The film's somber music

is accompanied by thunderous blasts, creating a gloomy and foreboding atmosphere. The loud bursts of burning gas heighten the sense of impending danger, while also symbolizing and intensifying the awareness of peril. Additionally, Blade Runner delves into an escapist motif.

This paragraph discusses the movement away from a city, potentially to a distant off-world location, as a means of escaping the hopelessness and discouragement felt on Earth. The text suggests a shift towards an agrarian paradise, a peaceful place where one would feel safe. The film's editing is described as time-consuming, particularly at the beginning, where the audience is taken on a continuous long-shot journey over the city until reaching the cross-examination room.

The use of a long-shot in this film provides the audience with an overview of the vastness of the city and its size. By using an extreme close-up shot on an eye, the film further emphasizes the contrast between the city's enormity and a person's smallness. Additionally, the reflection of the city on the eye serves to highlight the significance of eyes in this film as they are used to determine whether someone is a replicant by observing their eye movements during emotional inquiries.

Despite being described as "more human than human," they possess one flaw: the inability to empathize with natural forms. As a result, the questions posed to them focus on animals, raising moral and philosophical inquiries. This shift in subject matter creates a jarring interruption within the initial minutes, resulting in a slow start. However, the subsequent scene in the cross-examination room utilizes the shot-reverse shot technique to accelerate the pace and intensify the tension.

The speed at which the camera captures this

scene validates the tension. The pace of the camera can be enhanced with sound, such as music, which can intensify specific scenes, like a chase scene with fast music. The camera jumps rapidly, increasing the pace of the scene until it reaches the climax where Leon stops and decides to kill the interrogator. When Leon pauses, his facial expression changes as he reaches a verdict, connecting the audience to his decision. The questions prompt a reaction from the android and the replicant responds sadistically when asked about his mother. In a blind fit of rage, he shoots the blade runner and hastily exits the building.

The selection of camera angle in a shot influences the audience's perception by altering their perspective. For instance, if the shot is captured from behind the android, facing the blade runner, viewers would witness the emotional transformation in the blade runner and empathize with him. Conversely, if the camera focuses on the android's face during the moment he shoots the interrogator, the audience would sympathize with the replicant due to the emotions reflected on his face.

In essence, the camera position can alter the audience's point of view, thereby allowing the director to shape how they perceive the entire film and which characters they align or disagree with. Empathy serves as a crucial theme in the film, as evidenced by psychologists in Russia developing tests to detect involuntary eye movements in replicants when presented with empathetic questions, in order to observe emotional development. Empathy also plays a pivotal role in indicating the audience's response.

The audience's empathy lies not with the replicants, but with Rick Deckard. Since he is always alone

and his wife has died (though she does not exist in the book, the director mentioned her in the film), viewers feel sorry for him. However, the only person who is truly a replicant, or "skin job" in slang terms, is Rachel. In the director's cut, we witness Deckard killing a female android, which elicits sympathy from the audience for the replicants who already have a short lifespan of only four years. Deckard kills them so they do not live for very long. Another exceptional film directed by Ridley Scott is Alien.

This film is a Sci-fi movie, horror, and a thriller. The Nostromo, a mining ship, is unexpectedly redirected to an isolated planet (LV-426) while on a journey back to Earth after receiving an SOS signal from it. Upon arriving on the deserted planet, the crew investigates the origin of the distress signal and uncovers the wreckage of an alien spacecraft. Kane, one of the crew members, enters the alien ship for investigation and discovers a collection of eggs. As the eggs sense Kane's presence and movement, they begin to hatch, realizing that he is still alive.

Unexpectedly, the creature emerges from the eggshell and attaches itself to Kane's face, causing him to fall into a coma. Despite the death of the alien parasite and the crew's belief that everything is fine, this initial suffering foreshadows even more terrible events. Later on, it is revealed that another creature of the same species is growing inside Kane's stomach. This shocking revelation happens during a meal when Kane's stomach bursts open, setting the creature free. Consequently, the crew sets out on a mission to capture the

creature while Ash, the scientific officer, defends it. Slowly but surely, each member of the crew meets their demise.

In the tagline "just one can kill seven", the clear indication is given that one single thing has the power to destroy many. The film commences with the presence of sound effects, exemplified by the act of pressing a button. This initial occurrence serves as an initial warning sign, as it becomes evident that there is an issue concerning the ship's ability to successfully land. Subsequently, the interference of a storm creates another threat, observed through disrupted radio signals. The atmosphere surrounding the alien planet is characterized by its primitive nature. Furthermore, a dawn emerges symbolizing a fresh start, coinciding with the landing of the alien vessel. Upon witnessing this event, they encounter an additional peculiarity at sunrise - the sight of two suns rising simultaneously.

According to my perspective, this text is indicative of two parallel worlds, one being the extraterrestrial realm and the other being the human realm - specifically, Earth. The introductory portion of the film hints at potential events that may take place. Additionally, the film's title confirms the presence of aliens at some point. The initial scenes gradually cultivate suspense regarding what might occur after sunrise: will the spaceship explode, or will the aliens emerge from within it? This tense atmosphere persists until a crew member enters the ship and discovers a surrounding of eggs. This discovery suggests that the ship itself is female in nature.

The tension rises as the alien eggs begin to hatch upon the man's entrance, as they can sense his presence. The audience becomes captivated as the alien swiftly

attaches itself to Kane. Despite Ash's disapproval, Ripley transports Kane onto the ship. Ash and Ripley assume control of the craft, with Ripley as the second-in-command and Ash as the medical officer. Unbeknownst to everyone, Ash also serves as the antagonist and is secretly a robot.

Ripley has the same level of strength as her opponent Ash, but she feels controlled by him. Despite her protests, she doesn't gain anything from it. Ripley's beliefs differ from Ash's and align more with the audience's perspective. She simply wants to eliminate the creature, whereas Ash opposes this goal. This movie shares similarities with Blade Runner in terms of being fictional and belonging to the science fiction genre. Both films also utilize various camera angles to captivate the audience and create suspense.

Both Alien and Blade Runner feature diverse life forms, including aliens and human clones respectively. Additionally, both films present binary oppositions such as Ash and Ripley in Alien, and blade runner and the replicants in Blade Runner. Advanced technology is prominently displayed in both films. For example, Blade Runner portrays the creation of human clones in the future (2019), while Alien showcases the appearance, behavior, and overall existence of aliens. Although aliens remain a matter of belief without concrete evidence, they are widely accepted by many.

The film Alien depicts a futuristic world where advanced technology has allowed humans to encounter aliens. Directed by Ridley Scott, Gladiator is another movie that tells the story of a general turned slave turned gladiator who defies an emperor. Set in the second century, the film takes place in various parts of Europe such as Germany, Rome, and Africa. The plot revolves

around the general seeking revenge against the emperor for murdering his family.

And then he transforms into a gladiator. It was highly improbable for someone from a country conquered by Rome to rise to the rank of a general commanding a large army, while also having such strong connections with the royal family that the previous emperor treated him like a son. The opening battle depicted in the film actually happened, marking the conclusion of a significant military campaign. The Romans employed ruthless tactics to conquer nations, as evident from a quote in the movie where Quintus questions, "Don't people realize when they have been conquered?"

At the height of their power, the Romans had a vast empire that stretched from northern Britain to the Sahara and from the coast of Spain to the Middle East. Caesar ruled over a population exceeding a quarter of the world's total. Before them, the Greeks also possessed an empire, although not as extensive as that of Rome. Their empire did not extend as far north and, despite Alexander's conquest of India, it was still not as expansive. In AD 180, Rome triumphed in their war against the barbarians in Germania.

Rome, as a colonial power, required its colonies to pay tribute in the form of taxes and goods, such as grains, cloth, or precious metals. The key sources of power for Rome were its army, led by generals, and its administration, overseen by the senate (government), consisting of wealthy individuals and the Caesar, some of whom became dictators. Marcus Aurelius serves as an example of one leader who did not assume dictatorial powers. The decline of the empire can be attributed

to corrupt leaders, as depicted in the movie "Gladiator," where Commodus is portrayed as corrupt, caring only for his own benefit.

The text discusses the desires of the father and son in the film regarding the leadership of Rome. The father seeks an emperor who possesses qualities like wisdom, justice, fortitude, and temperance to bring peace to the city. Commodus expresses his aspiration to live up to his father's ideals and become the emperor himself. Meanwhile, Marcus Aurelius laments that during his tenure as Caesar, there have only been four years of peace out of twenty and questions the purpose of his reign if it only brings warfare. This statement emphasizes Marcus Aurelius' desire for Rome to be a capital that prioritizes the well-being of its people over their deaths.

Ridley Scott utilized poetic license in the creation of scenes in Gladiator that deviated from historical accuracy. These particular scenes incorporated elements such as imagery, music, colors, and sequences to elicit distinct emotions. Within the opening sequence, pleasant music plays while orange smoke fills the screen. In this scene, a man wearing a fluffy jacket strolls through a field adorned with green and yellow crops. The laughter of children can be faintly heard in the background. Abruptly, a blue hue emerges to symbolize a transition towards a melancholic atmosphere.

Then you envision black horses producing a sound, followed by the sound of a battle. However, the music undergoes a dramatic change when the German messenger is beheaded. The Romans do this to demonstrate to the German army that there is no room for compromise in warfare. The soldiers react with uproar, cheering, and shouting. Consequently, the music changes

once again, transitioning into an spirited melody that evokes suspense as it accelerates and intensifies. In this moment, the general delivers an inspiring speech, proclaiming "what you do in life echoes in eternity," and sends them into war. Thus, the Roman army engages in combat with the German army to secure control over Germania.

Maximus emerges and collects sand from the ground, accompanied by a shift in music to a heroic tone. This effectively signals to the audience that Maximus is destined to triumph in the upcoming battle. As the battle commences, the scene slows down, creating a dramatic atmosphere, accompanied by reflective music. The director cleverly employs the three primary colors to evoke various emotional responses from the audience. This deliberate use of color also intensifies the tension among viewers, as each color represents a different emotion; for example, blue signifies sadness, yellow signifies happiness, and red symbolizes anger.

The presence of red smoke in Gladiator could create a sense of danger and leave the audience curious about the impending trouble. Music plays a vital role in conveying emotions and messages that actors may not explicitly express. For instance, triumphant music indicates Maximus's impending victory, while sad music sets a melancholic atmosphere, helping the audience connect emotionally. Furthermore, Gladiator follows a straightforward narrative structure, encompassing a clear beginning, middle, and end.

The film is structured in a chronological order, starting with a scene in heaven that foreshadows the future. The events progress to explain how everything unfolded, presenting a sequential storyline. This ordered structure also includes a binary opposition, where Maximus serves as the protagonist and Commodus as the antagonist. This is evident when Marcus Aurelius, Commodus'

father and emperor, selects Maximus as his preferred successor over his own son.

Commodus becomes enraged by the decision and proceeds to murder his father. He also ruthlessly kills Maximus's family. This triggers Maximus's desire for revenge, which he expresses to the audience, saying "in this life or the next, I will have my vengeance." As a result of these actions, the audience supports Maximus, who has been wronged, and wishes to see Commodus, the villain, meet his demise. Unlike the other two films I have discussed, this Ridley Scott movie showcases various genres and follows a distinct narrative structure.

The role of colors and music in evoking emotions and building tension differs between the two films. However, all of them share common themes and exhibit both similarities and distinctions. For example, Gladiator includes historical elements such as the Hannibal battle and is set on Earth during a time when technology was limited. In contrast, Alien showcases advanced technology and takes place on an alien planet with a female protagonist, setting it apart from the other two films.

Blade Runner, set in the future, offers unique differences including the presence of a distinct life form. The film's protagonist faces an empathy-related predicament as viewers find themselves sympathizing with the skin jobs. This situation leads to the movie finding success solely as a cult film. Consequently, the binary opposition between androids and humans becomes ambiguous, as androids are portrayed as vulnerable and reliant on assistance, contrary to the typical portrayal of antagonists as powerful figures. Regrettably, minimal attention is given to developing themes and ideas in the film, resulting in inadequate character development.

Alien, directed by Ridley Scott, effectively addresses

empathy issues through the establishment of a clear antagonist. The horror genre in this film creates a straightforward binary opposition, resulting in a simple and engaging storyline that captivates the audience with tension as Ripley attempts to eliminate the alien. Despite its captivating action, character development is minimal in Alien.

In contrast, Gladiator offers an entirely different film experience. From the very beginning, character development takes center stage and transforms a simple binary opposition into a complex one. Furthermore, Gladiator incorporates multiple narrative lines which add to its overall complexity.

All films feature a character whom the audience empathizes with, typically the protagonist, although it could be someone else. These films consistently address issues of solitude. In Blade Runner, the character Rick Deckard is predominantly depicted as being alone. If he is shown with someone, it is usually Rachel, but she is not a real human, rather a clone. Therefore, Deckard doesn't actually interact with other humans and remains isolated. Similarly, in Alien, Ripley begins the film with her crew, but after they are killed, she is left alone on the ship. In Gladiator, Maximus is shown in solitude in a field of crops. The climax involves Commodus challenging Maximus to a fight.

Before entering the arena, Commodus injures Maximus by stabbing him beneath his armor. To conceal Maximus' injury, Commodus bandages him. Maximus ultimately kills Commodus, but succumbs to his own wound. This foreshadowing of Maximus' death occurs when he is wounded by Commodus. The audience understands that the beginning of the film was actually its conclusion. They also anticipate that Maximus will join his family in heaven, as portrayed at the start of the film. "Gladiator"

does not revisit its narrative structure; instead, it incorporates multiple narrative lines.

However, there are those who argue that Gladiator revisits its narrative structure. In the beginning, the protagonist is shown in heaven and this same scene is repeated at the end, effectively retelling the ending. On the other hand, Blade Runner does not revisit its narrative structure as the binary opposition is not clear, resulting in a complex structure. While both Alien and Blade Runner feature revisited aspects in their music, there is no difference in music between the two films. However, Gladiator introduces a new aspect with the use of colors, which is not present in Alien or Blade Runner.

The narrative structures of the films vary slightly depending on their respective genres, as indicated by their different titles, but the timeframe remains relatively consistent. The main characters possess similar qualities such as loyalty, bravery, and honesty, while the antagonists have clear purposes, like the replicants' mission to find their creator. Consequently, certain elements of the narrative structure are revisited while others are not. In conclusion, out of the three films mentioned above, Gladiator will stand as Ridley Scott's most successful work.