Man’s creations will eventually rebel against their creators. Los Angeles, 2019. The City of Angels is a place that has seen many of the world’s greatest technological advances. One of these advances is the creation of “Replicants,” androids who look and feel like everyday humans. Proven to be dangerous after an uprising, the remaining replicants are banished outside of Earth and relegated to slave labor.
A few escape, and land back on Earth in search of their creator, whom they believe can help extend their life expectancy. They need to be “retired,” no ifs, ands, or buts. Taken from the shadows is Blade Runner Rick Deckard (Harrison Ford), an individual who specifically tracks and eliminates replicate threats. Upon the course of his investigation/manhunt, he gets romantically involved with an experimental model replicant, Rachael (Sean Young), who believes herself to be human. Deckard’s involvement with Rachael forces him to confront his humanity, as well as those of whom he is hunting.
Almost 35 years after its release (as of this writing), it’s impossible to talk about Blade Runner without acknowledging the impact it has had on the science fiction genre, mainly on the technical side. Almost 35 years later, it’s still one of the better-looking science fictions movies in history.
The dystopian future is a lynchpin of many a feature in the genre, but few, if any, have topped the fully realized vision that director Ridley Scott employs here. Los Angeles circa 2019 world feels authentic and lived-in, and draws one into the film immediately starting with the first interrogation utilizing the Voight-Kampff machine. Production is absolutely stellar, from the way Scott sets up shots, to the impressive score and sound design. Clearly, a sci-fi, however, it doubles as a film-noir (earlier versions feature Deckard narration, thankfully removed) in its use of lighting and plot elements.
Even as a visual tour-de-force, Scott’s Blade Runner is a slow moving film, mainly for the first half. Not until the second half do the themes start coalescing and things become more balanced with action and narrative. Scott tackles issues of oppression and corporate control, but being mainly concerned with what makes someone human. With the protagonist narration removed, Ridley leaves this question open to interpretation for the viewer.
With all of that said, Blade Runner doesn’t resonate like envisioned, even after two viewings. I look to Scott’s characters as to a reason why, and mainly, his protagonist. Rick Deckard, even as more of his backstory is hinted at, is rather bland and nowhere near as compelling as he should be. As such, Harrison Ford ends up sort of being forgettable. Compare his character to that of Peter Weller’s in RoboCop (a movie that has similarities to Blade Runner but better pacing and memorable central characters to carry out its themes through), and Deckard feels…there. No real reason to get behind him and care about his journey. Why is he a blade runner? Why is he pulled out of retirement to hunt these replicants down, as opposed to someone else?
The replicants actually steal the show, in particular Rutger Hauer as the central leader Roy Batty of the escaped crew inhabiting Earth. Looking the part of an unstoppable killing machine, Hauer and Scott peel back the onion to show that there’s more to his character than that, and ends up being arguably the best character of the entire movie. Another argument can be made for Rachael, played by Sean Young who gives the character multiple layers as well. Rounding out the replicants are Joanna Cassidy, Daryl Hannah, and Brion James—each getting adequate screentime to further sell this created world—but amounting to little in actual people generating feelings from the audience.
More impressive from the production and vision aspect than a storytelling and character one, Blade Runner is a little disappointing from the latter front. But is it still quite the sci-fi-experience in totality? Absolutely, and for that alone, it’s a mandatory watch for anyone.
Photo credits go to qz.com, rogerebert.com, and dkillerpondworld.com.
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