BLADE RUNNER: THE FINAL CUT
BLADE RUNNER: THE FINAL CUT
From Roger Ebert's 2007 review: "The skies are always dark with airborne filth in this Los Angeles of the future. It usually rains. The infrastructure looks a lot like now, except older and more crowded, and with the addition of vast floating zeppelins, individual flying cars, and towering buildings of unimaginable size. When I first saw the film I was impressed by the giant billboards with moving, speaking faces on them, touting Coca-Cola and other products. Now I walk over to Millennium Park and see giant faces looming above me, smiling, winking, and periodically spitting (but not Coke). As for the flying cars, these have been a staple of sci-fi magazine covers for decades, but remain wildly impractical and dangerous, unless locked into a control grid.
The "human story," as I think of it, involves practical tests to determine if an individual is a replicant or not, and impractical tests (such as love) to determine how much that matters to (a) people, if they are in love with a replicant, and (b) replicants, if they know they are replicants. This has always been a contrived problem, easily avoidable in practical ways, unless (as I suspect) the Tyrell Corporation has more up its sleeves than arms. But to stumble on plot logic seems absurd in a film that is more about vision. And I continue to find it fascinating how film noir, a genre born in the 1940s, has such a hammerlock on the future (look at "Dark City" again). I suspect film noir is so fruitful and suggestive that if you bring it on board, half your set and costume decisions have been made for you, and you know what your tone will be."
Blade Runner is a 1982 American neo-noir dystopian science fiction film that depicts a dystopian Los Angeles in November 2019 in which genetically engineered replicants, visually indistinguishable from adult humans, are manufactured by the powerful Tyrell Corporation as well as by other "mega-corporations" around the world. Their use on Earth is banned and replicants are exclusively used for dangerous, menial, or leisure work on off-world colonies. Replicants who defy the ban and return to Earth are hunted down and "retired" by special police operatives known as "Blade Runners". The plot focuses on a desperate group of recently escaped replicants hiding in Los Angeles and the burnt-out expert Blade Runner, Rick Deckard (Harrison Ford), who reluctantly agrees to take on one more assignment to hunt them down.
"When Ridley Scott's cut of Blade Runner was finally released in 1993, one had to wonder why the studio hadn't done it right the first time--11 years earlier. This version is so much better, mostly because of what's been eliminated (the ludicrous and redundant voice-over narration and the phony happy ending) rather than what's been added (a bit more character development and a brief unicorn dream). Star Harrison Ford originally recorded the narration under duress at the insistence of Warner Bros. executives who thought the story needed further "explanation"; he later confessed that he thought if he did it badly they wouldn't use it. (Moral: Never overestimate the taste of movie executives.) The movie's spectacular futuristic vision of Los Angeles--a perpetually dark and rainy metropolis that's the nightmare antithesis of "Sunny Southern California"--is still its most seductive feature, an otherworldly atmosphere in which you can immerse yourself. The movie's shadowy visual style, along with its classic private-detective/murder-mystery plot line (with Ford on the trail of a murderous android, or "replicant"), makes Blade Runner one of the few science fiction pictures to legitimately claim a place in the film noir tradition. And, as in the best noir, the sleuth discovers a whole lot more (about himself and the people he encounters) than he anticipates.... With Sean Young, Edward James Olmos, Daryl Hannah, Rutger Hauer, and M. Emmet Walsh." --Jim Emerson