Blade Runner (1982)
by Steve Habrat
What a hypnotic and transcendent film that Ridley Scott’s 1982 science fiction/neo-noir film Blade Runner is. An entrancing genre mashing of sounds, images, words, philosophy, and artistic vision that finds very few challengers to this day. One of the biggest cult films around, Blade Runner was a polarizing film when it was first released but has since gained a wider audience who yearn to be transported to Scott’s twinkling metropolis where it always rains, femme fatales strut in smoke filled rooms, and large neon corporations bear down on the dystopian Los Angeles from all angles. If Blade Runner chose to not say anything at all, it could exist solely as a visual work of art that could hold us in wide-eyed wonder, making us nervous to even blink for fear we would miss a tiny detail. Released almost thirty years ago, the film still has some of the most breathtaking effects that I have ever seen (seriously), not aging a day while continuing to maintain their rusty allure. The film has managed to reverberate with a wide ranger of viewers, from intellectuals eager to decipher the deeper code to science fiction fanatics just looking for a spaceships and laser guns spectacle, for its grand approach and bold pairing of two different genres that shouldn’t even be mentioned in the same sentence.
Blade Runner ushers us into the dystopian world of Los Angeles in 2019. We meet Rick Deckard (Played by Harrison Ford), a “blade-runner” who hunts down bioengineered beings known as replicants, who are banned on earth and incapable of showing empathy. These replicants are designed to perform tasks that could be dangerous to normal human begins and usually only live about four years. Deckard’s job is to track down and “retire” (kill) the replicants who get loose on earth. While dining on a meal of sushi and noodles one dreary evening, Deckard is detained by officer Gaff (Played by Edward James Olmos) and taken to his former supervisor, Bryant (Played by M. Emmet Walsh), and finds himself forced into taking on one last job. This one last job asks that Deckard track down four replicants who have come to earth to find their designer and are leaving a trail of dead bodies in their wake. These replicants, Roy Batty (Played by Rutger Hauer), Pris (Played by Daryl Hannah), Zhora (Played by Joanna Cassidy), and Leon (Played by Brion James), are extremely dangerous and capable of blending in with normal human begins. This last job pushes Deckard to the edge and introduces him to Tyrell (Played by Joe Turkel), head of the Tyrell Corporation who produces Nexus 6 replicants, which is what Deckard may be dealing with, and falling for an advanced experimental replicant named Rachael (Played by Sean Young), who believes herself to be human.
In a way, it is not surprising to know that Blade Runner didn’t cause too much of a stir when it was first released in June of 1982. By that time, George Lucas had shown us what could be done with science fiction and special effects with Star Wars. Coming just two short years after The Empire Strikes Back and a year before Return of the Jedi, science fiction gurus were most likely not on the prowl for a much more thoughtful and meditative futuristic thriller. By the early 80’s, it was all about the action and while Blade Runner does have some action (it is sporadic), it doesn’t have enough to satisfy the lust for explosions that a Star Wars fan has. The film was attacked for having a weak storyline and poor pacing, which today seems just downright absurd considering some of the garbage of today that is disinterested in any sort of build up. The first time you see Blade Runner, you will be caught off guard by the slower pace of the film (I was), but Scott clearly understands what he is doing and each step he takes toward the big finish seems like it is a completely necessary one and he refuses stop to give us dizzying flashes and blinding bangs of action. In all the rusted steel, dangling wires, and pulsing lights, Scott gives us a never-ending string of conversations about emotion and memories, making Blade Runner a very intimate and human encounter in a world with shimmering artificial advancement and consumerism.
Ford’s performance as Deckard also adds to the hushed pace of the film, a hushed hero who has been forced into taking on a job he really doesn’t want. He finds himself falling for Rachael, which he grapples with until he cannot resist the urge anymore. He sulks through rain soaked streets atmospherically lit by glowing neon advertisements, pulsing strip clubs, and ominous hotel rooms that belong to fugitives. He is far from the grinning, rip-roaring action hero in Indiana Jones and Star Wars. He is absolutely unforgettable as the drained hard-boiled detective. When the film gets to the final showdown between Deckard and Roy, Deckard is a normal flesh and blood guy getting pummeled rather than a superhero who can keep up an ultra-strong being. There has been some debate over whether Deckard is a replicant but his character wanders a dreary, decaying landscape where nothing seems sincere, where corporations dominate the never-ending steel labyrinth. It seems like his character has numbed to his backdrop, a world that doesn’t require any real feeling at all.
The supporting cast of Blade Runner is also memorable, the best being Hauer’s Roy Batty, who never seems like he is in any big rush. He is a mysterious villain who claims he has seen unforgettable things in his existence and craves an extended life as he stalks Ford’s disoriented Deckard. He is a villain that fights with his words rather than his superhuman strength, which are both terrifying when accompanied by the absolutely flawless lighting scheme and the one-of-a-kind score that allows Blade Runner to take on a life of its own. Also notable are Daryl Hannah as Pris, a leggy replicant who enjoys slinking around like a spider and using her innocence to manipulate her frail prey. She is just as unpredictable and dangerous as Roy. You will also find Young’s Rachael grabbing for your sympathies as she comes to terms with the fact that she is a replicant implanted with someone else’s memories. You feel her longing to be human and her spark when she begins to fall for Deckard. We also get small but equally great performances from William Sanderson as J.F. Sebastian, a designer who works closely with Turkel’s businessman Tyrell.
Perhaps my favorite aspect of Blade Runner is the marvelous lighting that is strung throughout, effective lit to give maximum ambiance. It can be harsh but often ethereal and strangely soothing. The final showdown between Roy and Deckard is without question the best lighting sequence in the entire film, one that finds our characters backlit by beams of white light in a derelict prison of chain link fence, wood, and checkered tile. The climax does swell into a crescendo of run-down beauty, a dazzling mixture of glorious rays of light, moldy darkness, swirling score, and heady ideas of death and memories. For the casual viewer, it may take a few viewings to really allow you to make a final judgment on the film. I myself was a little unsure of how I felt about it on my first viewing but as years pass, I have grown fond of the film’s technical accomplishments, its neo-noir story, and Ford’s controlled performance. A busy work of art that demands we look closer, Blade Runner dares to challenge the viewer and push the boundaries of science fiction, creating something that still feels fresh to this day.
Blade Runner is available on Blu-ray and DVD.
Posted on June 6, 2012, in REViEW and tagged 1982, adventure, brion james, daryl hannah, edward james olmos, film noir, george lucas, harrison ford, joanna cassidy, joe turkel, m. emmet walsh, neo-noir, ridley scott, rutger hauer, science fiction, sean young, star wars, william sanderson. Bookmark the permalink. 2 Comments.