Ridley Scott: A Critical Filmography by William B. Parrill

By William B. Parrill

Ridley Scott, the director of such seminal motion pictures as Blade Runner, Alien and Thelma & Louise, is likely one of the most crucial administrators of the final fifty years. in contrast to many administrators, Scott has been remarkably obvious approximately his craft, providing the viewers glimpses into his inventive technique. This publication explores Scott's oeuvre intensive, devoting a bankruptcy to his 22 fundamental works, from his first attempt, Boy and Bicycle (1962), via Robin Hood (2010). subject matters mentioned contain the severe reception of the flicks, and the ways that Scott's works functionality as cinematic mediators on concerns similar to faith, women's rights and background.

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Revenues from television, VHS, DVD and three sequels continue to this day. While it is difficult to compare costs and revenues from different periods, Alien may be, in terms of percentage of profits to cost, Scott’s most successful film. 42 5 Blade Runner (1982): At the Thanhauser Gate Versions. The long non-fiction film Dangerous Days: Making Blade Runner, included on both collector’s editions (DVD and Blu-ray) of Blade Runner, gives an interesting, but probably somewhat whitewashed, account of the turbulent making of the film, its moribund reception and its eventual resurrection.

Cristina Raines was heartbreaking in Nashville, and Diana Quick played Julia in the television miniseries of Waugh’s Brideshead Revisited, considered by many to be one of the best adaptations of a novel ever done. To Scott’s considerable chagrin, the critics treated The Duellists as an art film. Scott has said that he thought of the film as a western, but if so, the film was more stylized than even John Ford’s My Darling Clementine, the gold standard in this regard. Unlike Ford’s film, where the entire film leads up to the final confrontation, Scott’s film is a series of unsatisfactory confrontations between two soldiers of the Napoleonic wars, a topic hardly designed to appeal to an American audience.

In a concluding tableau imitating a romantic painting, Feraud, his life in ruins, or what he believes to be ruins, stares off into the mountainous distance. D’Hubert is now free to marry and Feraud is left to his solitary bitterness. Like Shakespeare’s Othello, his occupation is gone. Feraud is a hothead who believes himself, for some obscure reason, to have received a mortal insult and is quite willing to spend the rest of his life avenging it. Scott has in a sense stacked the cards against him by showing him killing a man in a duel at the beginning of the film.

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