(Hi, there… Can I get replicants that look like Anne Hathaway, James Franco, and Mark Wahlberg? No? Doesn‘t hurt to ask…)
CAST: Harrison Ford, Rutger Hauer, Sean Young, M. Emmet Walsh, Edward James Olmos, Daryl Hannah, Joanna Cassidy, William Sanderson, Joe Turkel, Brion James, James Hong.
DIRECTOR: Ridley Scott
WARNING: Some SPOILERS and androids more human than human (whatever the hell that means) straight ahead.
NOTE: This review is for the definitive cut of BLADE RUNNER - the only one approved by director Ridley Scott. It is also known as “The Final Cut.” If you are a fan of the Theatrical Cut or one of the many others floating around out there, you may want to stop reading now.
To write a short story called “Do Androids Dream of Electric Sheep?” and expect not to get laughed out of your agent’s office, you have to be: (1) extremely talented, (2) extremely ballsy, or (3) a combination of the two. In the case of Philip K. Dick, the writer who actually wrote a short story called “Do Androids Dream of Electric Sheep”, it was probably # 3.
Dick (have I mentioned I’m so grateful for the surname that I have?) was a prolific and gifted writer of sci-fi stories that straddled the line between thriller, mystery, and drama - most of the time with a dash of whimsy. Many of his short stories were turned into films, including the bizarrely titled one referenced above. “Do Androids Dream of Electric Sheep” became the film everyone either loves, hates, or hasn’t seen. The film is BLADE RUNNER - and it often polarizes audiences.
We’ll discuss the long and storied history of BLADE RUNNER through the years in the BUT, SERIOUSLY portion of this review. For now, let’s dive headfirst into our story, which is set in Los Angeles, circa 2019. If this movie is to be believed, roughly eight years from now, Los Angeles is going to turn into a shithole of mega-proportions. Given it’s already 2011, I think you Los Angelenos out there better start thinking of a pied-a-terre in South Dakota.
When I write mega-proportions, I specifically mean: (1) the skies will be a hazy red all day long, (2) the sun will barely rise over the horizon, (3) all the shop signs will be in kanji, (4) you won’t be able to hock a loogie on the street without hitting twenty Japanese people (at least, maybe more), (5) everything will be owned by Pan-Am and Atari despite those companies going belly-up in the 80’s, (6) state-of-the-art androids - from snakes to owls to humans - will be as common as shitty coffee in the morning, (7) taxis and cars will be able to fly and take the term "grid lock" to new heights (ha-ha, get it?), and (8) cops known as “Blade Runners” will be employed to hunt down the human androids - known as “Replicants.” Not to be confused with “Republicans”, which appear to be extinct in BLADE RUNNER’s timeframe. No comment.
Our hero happens to be one of these Blade Runners, and he is Rick Deckard (Harrison Ford). Deckard is actually retired, but is yanked back into the game when his old boss, Bryant (M. Emmet Walsh), finds out that four Replicants have landed on Earth from an off-world colony. Since recent legislature has declared Replicants illegal on Earth, it is the job of Blade Runner to “retire” them. Specifically, Bryant thinks Deckard’s the best - and wants him to make the four androids a permanent thing of the past.
The quartet of Replicants are a colorful bunch: (1) Roy Batty (Rutger Hauer), leader of the pack who looks like you could shave ice off his nose; (2) Zhora (Joanna Cassidy), statuesque amazon who ends up moonlighting as a stripper with a big-ass Boa Constrictor; (3) Pris (Daryl Hannah), sweet and naïve ingenue who likes to wear raccoon make-up; and (4) Leon (Brion James), temperamental thug who looks like he could really use a drink.
And just to make things even more complicated, Rick meets a fifth Replicant. She is Rachael (Sean Young), and she is special in more ways than one: (1) She doesn’t know she is a replicant, and thinks she’s human; (2) she was created as a special project by Dr. Eldon Tyrell (Joe Turkel), head of the corporation that created the Replicants in the first place; and (3) Deckard is attracted to her. Like, majorly.
What do the Roy and his sidekicks want? What is their purpose of coming to Earth where they know they’ll be hunted? Why not try to escape instead to another off-world colony? What is their secret agenda? Will Rick be able to stop them from whatever it is they’re trying to do? Or will they kill him first? What secret link does Rick have with these Androids? Does he have more in common with them than her realizes. And what happens when Rick is ordered to “retire” Rachael, as well? Will he have to choose between his heart and his job? Or is the choice really between his dick and his job? Will this hurt his chances of playing Body Oil Twister with Rachael?
Just imagine what an android can do to you in the bedroom. Can I have one?
BUT, SERIOUSLY: Philip K. Dick is, without a doubt, one of the most unforgettably imaginative sci-fi writers of all time. His stories, while fantastic and enigmatic and surreal, always somehow manage to be rooted in a very human place. This has the effect of making them haunting and memorable. It’s telling that his works have been the basis of such entertaining films as TOTAL RECALL, MINORITY REPORT, A SCANNER DARKLY, PAYCHECK, NEXT, and… BLADE RUNNER.
BLADE RUNNER was considered a big box-office disappointment when it first came out. Expectations were high for this film, what with Harrison Ford (hot off RAIDERS OF THE LOST ARK and THE EMPIRE STRIKES BACK) starring, Ridley Scott (hot off ALIEN) directing, and a supporting cast of rising and established stars backing up Ford (Sean Young, Daryl Hannah, Rutger Hauer, Joanna Cassidy, Edward James Olmos). But, during its initial domestic run in 1982, BLADE RUNNER grossed just a bit more than its production budget. It seemed destined to be written off as an “off-moment” in both Ford and Scott’s careers.
But a strange thing happened… BLADE RUNNER didn’t fade into the annals of cinematic misfires. It developed a loyal, passionate following, especially when it became clear that the Theatrical Cut released in 1982 was not the complete version - nor did it comprise Scott’s original vision, which the studio allegedly changed. As the 80’s turned into the 90’s, several cuts of BLADE RUNNER were released. The final, definitive one is the version we’re discussing here. It is the way Scott wanted to tell the story.
This version is darker, more ominous, and more nuanced than other versions - especially the Theatrical Cut, which had some dull narration reportedly forced on Scott and Ford, as well as a borderline-ridiculous, tacked-on happy ending that uses unused footage from THE SHINING’s opening credits! BLADE RUNNER: THE FINAL CUT restores deleted scenes that fleshed out the characters and their relationships with one another. It also keeps the original, more uncertain ending - as well as a controversial image that insinuates Deckard himself may be a Replicant.
As Deckard, Ford is actually not the most interesting presence in the movie. Bottom line: he’s okay as tough cop who turns tender, but we don‘t really get much beyond that. The implication that he might be an android himself is never explored satisfactorily, and those not paying attention may miss it altogether. Fortunately, everyone else around him is so quirky that they more than make up for his rather narrow characterization.
Sean Young is very good as Rachael, the “femme fatale” who slowly realizes all her memories are implants - and the man she’s falling in love with just might be the same one who will craft her doom. With her big brown eyes, she brings a child-like innocence to the role that is entirely right for someone who has a very short life span. Rumor has it that Rachel Ward, then a top model in New York - also auditioned for the role of Rachael - but lost out to Young, who was making her mark at the time. The only thing better than Sean Young as Rachael would have been Rachel Ward as Rachael.
The supporting cast of Replicants and humans are all portrayed by strong performers. Joanna Cassidy, Daryl Hannah, and Brion James are all memorable and distinct as Deckard’s prey. But it is Rutger Hauer that turns in the film’s best performance as Roy, the Replicant who just wants to survive for a little while longer. Hauer’s layered portrayal of this complex character is BLADE RUNNER’s highlight. The character and his motivations are so fascinating and surprising that he instantly overshadows Deckard and Rachael’s romance as the emotional core of the film. In the end, despite his ice-cold calculation and swift viciousness, Roy just wants what his human counterparts take so much for granted - more time to live. His final act of mercy towards Deckard at the end - and his ensuing “departure” - is enough to make you tear up. When was the last time you were moved to tears when a villain died?
I can’t remember. And that’s why BLADE RUNNER: THE FINAL CUT is such a good film - it takes us down unexpected, surreal paths. And one of those paths show us something that’s supposed be inhuman, behaving more human than humans themselves.
Special mention should also be given to this film's visual design. As THE MATRIX would later change the way sci-fi/action thrillers are made, BLADE RUNNER gave audiences a glimpse of a future that would be recycled in many other movies. If that's not the mark of a classic, I don't know what it is...
