Alright, this is an easy one. The only arguable element to this review is this film’s ranking. Blade Runner (Scott, 1982) is canonical. Period, point blank, thanks for coming. It has influenced the way sci-fi, action, adventure and even horror genres look, explore and exude harrowing tones. Having watched this film twice before, once in Undergrad for a film class and then years later for a new appreciation that wasn’t to be found, I have decided to watch the 2007 digitally re-mastered version sans Harrison Ford voiceover. Since many viewers, Ford and Scott included, took issue with the original narration (aka the most boring voiceover of all time), it seems right to watch this version that director Ridley Scott sought to release and with the years of the list and the re-mastered version lining up so perfectly, it seems a good idea indeed.
So, Blade Runner is your traditional film noir, down on his luck detective, meets mysterious dame who is involved somehow in the case of his career just set in the future and infused with existential themes. It takes place in 2019 Los Angeles now a maze of urban sprawl surrounding gargantuan factories producing androids called Replicants that look, sound and feel human in every way yet excel humans in strength, intelligence and contemplating mortality. Because of their heighted abilities, Replicants are used Off-World as slave laborers in the exploration and colonization of our Solar System and beyond. They are, however banned from Earth. Note: A large number of the privileged and wealthy live Off-World traveling further and further into deep space leaving the poor and beleaguered on Earth to rot. Four Replicants have returned to Earth, for some answers and results for their existential quandary from their creator Dr. Tyrell of the Tyrell Corporation that first created Replicants and is now redesigning them to become seamlessly human through programming them with complex fake memories. Their presence known after a failed attempt at gaining access to the Tyrell Corporation and the LAPD sends out Rick Deckard (Harrison Ford) a Blade Runner (detectives specifically tasked with rounding up Replicants), to track them down and “retire” them. In the process he’s introduced to Rachael (Sean Young) a pet project of Dr. Tyrell’s who’s oblivious to being a Rep because she’s been programmed with Tyrell’s deceased niece’s memories. Her innocence and I suppose need of direction endears her to Deckard despite his career objective and they form a relationship that opens Deck’s eyes to a bigger question, his own identity (just follow the breadcrumbs).
The Reps are after the proverbial “Fountain of Youth” when it’s discovered that a failsafe was built into their programming limiting their lives to around 3 to 4 years. Roy Batty (Rutger Hauer), the leader of the crew has become aware of the importance of his and his crew’s lives and what they’ve seen and done out on the fringes of the Solar System and so he wants to keep going. Though deranged and slightly sadistic, he isn’t entirely misled. In his final scene, after a showdown betwixt he and Deckard, Roy is seconds away from automatic retirement and has a beautiful moment of clarity in the form of the infamous “Tears in Rain” monologue and I quote, “I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoulder of Orion. I watched c-beams glitter in the dark near the Tannhauser Gate. All those moments will be lost in time, like tears in rain. Time to die.” Roy’s final words are the crux of this film.
Often in Sci-fi when engineered humans are featured the issue of sentience and its value inevitably show up. Of course this issue is more of a projection of our own relationship with sentience and our selfishness in wanting to be the only “special” ones on this planet who can think, communicate through speech, feel and act out of desire or impulse. Knowing how we choose to use these traits we really don’t trust any other life forms to use them. Let’s take Tyrell for example and his relationship with Rachael, he really sees her as an experiment despite giving her the memories of a dearly departed relative, and though kind to her shows no other affections other than admiration, which arguably is more for himself than she. Sure she comes and goes as she pleases, perhaps another one of his mini-tests, but after taking the Voight-Kampff test, that can identify near unidentifiable Replicants, she’s clearly frazzled, though unaware of her results. She believes she’s human but she knows there’s something afoot, which leads to her identity crisis. Lucky for him she doesn’t turn against him or feel anger, only debilitating confusion. Shortly after Deckard clears the air by breaking the news that she is in fact a Replicant leading to her, somewhat uneventfully, melancholy acceptance of herself. She’s fortunate though, not having to endure the life of a typical female Replicant who is mainly used Off-World as a pleasure toy, dang even non-human ladies still have it worse, her only burden is wanting to know if her feelings are her’s or just code. I dare to say that the acknowledgment of such an idea is her answer. But like most films to follow that explore android sentience there are no definitive answers and so we are left with many questions and our own moral barometers to direct our course, however, if you look close enough Mr. Scott has left some clues toward an alternative leaning direction.
In a scene with lady Replicant Zhora (Joanna Cassidy) Deckard is visibly moved by a feeling of what looks to be uncertainty toward her. Earlier Deckard tracks Zhora to a Burlesque show where she performs and assumes an identity to get closer to her. It doesn’t take her long to realize something’s not right with him and attempts to take him out before being interrupted and running for her life. In an awesome chase scene through the cramped corridors of L.A. Deckard eventually gains on her and shoots her down. Now what’s interesting is that Zhora, now face down in her own blood, resembles something akin to angel who’s wings have been torn off, the only bullet wounds being the ones on both sides of her back. Looking down at her Deckard has a look of regret and sympathy, clearly not pleased or relieved by what just took place and neither are we. In another to the death scene with the last female Replicant Pris (Daryl Hannah) and this is more on behalf of the audience, when Pris goes down, after a good fight with Deckard, there’s a sadness to her uncontrollable rampaging proceeding her death. And again, Deckard though relieved not to be dead, has little satisfaction for what’s taken place. Though Pris was a manipulating violent creature and Zhora was described as being a beast, you still feel moved to mourn for them on some level, especially understanding that life out in the planetary colonies was hard and equated to slavery, these moments beg for the question “What would you do for Freedom?” Through that lens consider Roy who only seeks freedom from the arbitrary limitations put on his life. Now, does that mean if his life were extended he would be a model citizen, decidedly no, Roy thinks very little of humans, knowing how cruel and weak we can be but I dare say what makes him exceedingly human is the desire to be remembered and not lost to time like tears in rain.
This is only a sliver of the many themes explored in Blade Runner, which makes it great for multiple viewings. It impresses thinking amidst the impressive look and scope of that world, which are decidedly impressive. The set design, special effects and soundtrack are phenomenal, especially the music which effectively highlights the nuances of a scene ranging from wistful to threatening but always with a romantic undertone, just like the film. And that’s thanks to the sensibilities of auteur director Ridley Scott who developed an atmosphere that’s real, lived in and sublime. Again my only critique of #97 listed film is its ranking. Having paved the way for many other films and in being an established pop icon I’d place easily within the top 30. AFI if you reading this just think about it for the future.