In a cyberpunk vision of the future, man has developed the technology to create replicants, human clones used to serve in the colonies outside Earth but with fixed lifespans. In Los Angeles, 2019, Deckard is a Blade Runner, a cop who specializes in terminating replicants. Originally in retirement, he is forced to re-enter the force when four replicants escape from an off-world colony to Earth. Written by
Graeme Roy <firstname.lastname@example.org>
Towards the end of principal photography an incident occurred which has become known as the T-shirt war. The majority of the crew didn't enjoy working on the film, and didn't like working for Ridley Scott, who they considered to be cold and distant. In an article in the British press, Scott commented that he preferred working with English crews because when he asked for something they would say, "Yes gov'nor" and go get it, but things weren't that simple with American crews. Makeup supervisor Marvin G. Westmore saw the article and was disgusted. In retaliation, he had t-shirts printed with "Yes gov'nor my ass!" on the front, and either "Will Rogers never met Ridley Scott" or "You soar with eagles when you fly with turkeys" on the back. In retaliation, Scott and several of his closer collaborators had t-shirts made with "Xenophobia sucks" on them. See more »
When Pris meets Sebastian, the visible words on the marquee on the Million Dollar Theatre change from "Andres Garcia...Vidas" to "Los Mimilo Co..Mazacote Y Orque" (Corrected in the 2007 "Final Cut" of the movie; the word are consistently "Andres Garcia...Vidas"). See more »
Female announcer over intercom:
Next subject: Kowalski, Leon. Engineer, waste disposal. File section: New employee, six days.
See more »
In the "happy ending" Theatrical/International cuts, the credits play over the gorgeous scenery. In later Director/Final cuts, they play over a normal black background. See more »
Blade Runner, directed by Ridley Scott and based on Philip K. Dick's novel Do Androids Dream of Electric Sheep, is a Sci-fi slash Noir film about a cop named Rick Deckard (Harrison Ford) in a decrepit 2019 Los Angeles whose job it is to "retire" four genetically engineered syborgues, known as "Replicants". The four fugitives, Pris (Daryl Hannah), Zhora (Joanna Cassidy), Leon (Brion James), and their leader, Roy Batty (Rutger Hauer), have escaped from an off-world colony in order to find their creator and bully him into expanding their pre-determined four year life span. This film originally flopped when it came out in 1982, but since has become a widely acclaimed cult classic with a director's cut to boot. A large part of the success that this movie has received can be attributed to its ability to operate on many different levels.
Ridley Scott's hauntingly possible depiction of what might become of Los Angeles down the line is absolutely brilliant. It captures elements of Noir with its urban atmosphere of decadence, lighting, and characters neither clearly defined as good nor evil. Corruption is everywhere. The garbage-littered streets and permanence of dark and rain give us the sense that we've seriously screwed up the atmosphere, and the impression that all respectable human beings have fled to the off-world colonies, leaving only the scum of the earth behind.
There is a hint of style from the 40's, especially with respect to cars, costumes, and music. Rachael's entire outfit, including her hair, screams the 40's.
The soundtrack, arranged by Vangelis (who won an Oscar for his Chariots of Fire score), consisted mainly of Jazz and Blues. This functioned to represent a dark, moody world of uncertainty and pessimism.
The special effects were exceptional. Much of the set was pulled off using models. In my opinion, sets made by hand require leagues more of skill and are much more impressive and realistic than those computer generated. These guys really knew what they were doing. I was especially fond of the pyramidesque Tyrell Corporation building, which hinted at the god-like presence of Eldon Tyrell (Joe Turkell), the creator.
The script (Hampton Fancher, David Peoples, and of course Phil Dick) worked for me, as well as the actors who gave voice to it. Harrison Ford was well...Harrison Ford. I thought he did a tremendous job down-playing the role. His voice-over narration helped you along, and was yet another feature conducive to Film Noir (apparently this was taken out of the Director's Cut). Rutger Hauer's performance was intense. His lines at the end were intriguingly philosophical. Daryl Hannah's chilling robotic expressions were quite impressive. Joanna Cassidy was just plain hot.
There is more to this film than just pulp. It works on so many remarkable levels. The movie itself is a detective noir quest for the meaning of life in a science fiction environment, but the story is a commentary on what it means to be human and the questions each one of us have about life, like: How long have I to live? Why do I have to die? What happens when I die? Doesn't my maker care? Is this all merely an illusion? At the end of the film we are left to wonder if these Replicants are human, and if Deckard himself is in fact a Replicant. Scott raises more questions here than he answers, and as a result, critics are still debating the mysteries of this film today. In a sense, the ambiguity of Blade Runner is the culprit of its success.
288 of 365 people found this review helpful.
Was this review helpful to you?