Blade Runner (1982)

For sci-fi fans, Ridley Scott’s 1982 film should need no introduction. Although not a big hit on it’s initial release, since then it has become one of the highest-rated science fiction films ever. It’s reputation was made even better after Scott re-edited the film to better reflect his original vision, making changes that were controversial but in most people’s opinions seem to have improved the film.

This was the first movie adaptation of a book by acclaimed sci-fi author Phillip K. Dick and although it doesn’t stick too closely to the plot of Dick’s book “Do Androids Dream Of Electric Sheep”, it does a good job of conveying Dick’s rather cynical view of the future.

The film is set in the 21-st Century and humanity doesn’t seem to be doing too well. Emigration to off-world colonies is commonplace and the film’s version of futuristic Los Angeles is a gloomy, dark, polluted world populated by tired, cynical characters. Harrison Ford stars as bounty hunter Rick Deckard, a man whose job is to hunt down replicants - humanoid androids - who have escaped from the off-world colonies and come to Earth. Androids are illegal on Earth and Deckard is authorised to kill them on sight, if he detects them. After several highly advanced androids led by Roy Batty (Rutger Hauer) hijack a shuttle and land in Los Angeles, Deckard is given the task of hunting them down.

The replicants’ goal is a confrontation with their creator - the head of the Tyrrell corporation - who might be the only person capable of extending their lifespan beyond the four years they have been allotted. To get to them they befriend childish genius JF Sebastien but Deckard is closing in on them.

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There are several reasons why Scott’s film is considered a masterpiece of science fiction. The most obvious reason is the lavishly gritty production design - from the opening aerial shot of 21-st Century Los Angeles to the crowded alleyways of the city’s shopping district it all looks spectacular, believable and worrying. The gloomy atmosphere never lets up, although the film never really gets depressing. A futuristic-sounding score by Vangelis also fits the visuals perfectly and the title sequence is truly breathtaking on the big screen.

In a film with so much visual prowess it would be easy for the actors to get overshadowed, but they manage to hold their own. Ford’s character is convincingly cynical as the man with the job nobody wants to do and the replicants - particularly Hauer in a role that made him a minor star - are paradoxically full of life.

The plot of the film is simple to summarise but there are many nice touches including the final confrontation between Batty and Deckard which contains one of sci-fi cinema’s most memorable speeches (penned by Hauer himself). The question of just how alive the artificial lifeforms are is handled far more clearly than in more recent movies such as AI and it’s not at all clear if Deckard’s job means he is ensuring public safety, or just acting as a murderer.

A further complication lies in the ambiguity introduced by Scott’s director’s cut, in which there are hints that Deckard’s character may well be a repliant as well - even though he doesn’t realise it. The movie doesn’t resolve the ambiguity but the suggestion is intriguing.

In summary, this is a visually spectacular and thoughtful sci-fi film which isn’t quite perfect, but comes pretty close.

Rating : 9 / 10

All content ©2003 William Marnoch.

Comments? Agree/Disagree with the Reviews? Suggestions? Random Ramblings? Whatever you might want to say, feel free to e-mail me at william@wmarnoch.freeserve.co.uk .