DVD REVIEW: Blade Runner (1982) – Tribute to Rutger Hauer by Holen MaGroin

Guest review by Holen MaGroin


BLADE RUNNER (1982, 2007 Ultimate DVD edition, Warner Bros.)

Directed by Ridley Scott

The first time I saw Blade Runner, I was unimpressed. I didn’t believe it to be a bad film, but it inspired nothing inside me. However, something about it burrowed into my mind. It could have been the inspirational aesthetic, the cryptic atmosphere, or something operating deeper in my subconscious. Something I couldn’t place my finger on. Whatever it was, I had an undeniable desire to see the film again. When I acted upon that impulse, I fell in love with it. All the emotion and humanity that had eluded me on the initial viewing became elucidated the second time around. Since then, I’ve viewed the film many times. Each of my viewings reveals more secrets and offers new interpretations to this alluringly ambiguous picture.

I’m not entirely certain why Blade Runner went over my head the first time. If I had to speculate, I’d guess that my mind was so overwhelmed by the sheer visual spectacle, that I had a difficult time focusing on the movie behind it. After becoming accustomed to the astonishing world in which the story resides, it became clear to me that much more than just the design was awe-inspiring. Underneath the electronic digital exterior was a human pulse, one that beat the strongest in the characters that weren’t even human. It poses the existential question of the definition of life, and makes us wonder who should have the authority to define it.

The events take place in the future world of November 2019. Earth has become an overcrowded, polluted, and commercialized urban environment. The Tyrell Corporation manufactures synthetic human beings known as replicants. They are just as intelligent as their creators, while also possessing superior physical abilities. They’re used off-world for slave labor, and are forbidden on Earth. Deckard is a blade runner, the best there’s ever been. His job is to take out stray replicants, a process described by the euphemism ‘retiring’.

 

When we’re introduced to Deckard, it’s clear we’re observing a broken man. He lacks purpose, and hides his feelings of worthlessness behind alcohol and a bitter attitude. Having quit his job as a blade runner, he drifts around going through the motions. He’s living a very shallow existence, numbed by whiskey, afraid to feel, and terrified of self-reflection. He’s called in to do one last job, and does so only after being threatened by his old boss, Bryant. Six replicants escaped an off-world colony, and four made it to Earth with their lives. They’ve travelled to Earth in an attempt to extend their lives, which have been set to approximately four years. Their leader is the tactical and ruthless Roy Batty, an imposing figure played by the recently departed Rutger Hauer (R.I.P.). Deckard’s job is to retire them, as they are considered a threat to the public.

Despite being artificial, these four replicants are the most compelling characters in the film. They possess real emotions, and you can’t help but empathize with their plight for life. Their methods may be cutthroat, but understandable given the abhorrent treatment they’ve received at the hands of humans. Not excusable, but understandable. Roy is the most viscous, yet he is also the one we learn to care for the most. The other three want more life only because of their fear of death. Unlike his companions, Roy is a pensive philosopher that questions the nature of his existence, and sees the artificial manipulation of his life expectancy as an injustice perpetrated by Tyrell, his creator.

Contrarily, Deckard is a classic noir archetype inserted into a science fiction world as a way of contrasting him with his supposedly ‘less than human’ targets. He has no raison d’être, no philosophy, he simply exists. The very machines he’s been commissioned to destroy contain more human characteristics than he does. He has learned to detach himself from his emotions because somewhere inside he knows that his job is immoral. As the film progresses, it’s a truth that he finds harder and harder to deny.

His path to realization begins when he visits Tyrell at the onset of his case. While there he meets the beautiful replicant Rachel and is immediately captivated by her. Rachel isn’t initially aware that she is a replicant, as she is part of a new generation that has been fitted with memory implants. She’s rather sterile and distant at first, but ironically becomes more emotional as she comes to accept the fact that she is indeed a synthetic human being. This coincides with Deckard’s own increased feelings of guilt and empathy towards these machines as he approaches the completion of his job. Both characters struggle with the concept of humanity in a dehumanizing urban environment, falling in love as they relate to each other’s fear and uncertainty.

Meanwhile, Roy and the seductive Pris manipulate genetic designer J.F. Sebastian into leading them to Tyrell. Sebastian is afflicted with a disease that accelerates aging, allowing him to relate to and take pity on the replicants and their limited lifespan. Roy and Sebastian visit Tyrell during the dead of night, under the pretense of a chess game. Roy’s patience has been rewarded. He is finally able to face his creator. His resentment towards Tyrell for manipulating his lifespan culminates in the line “I want more life, fucker.” The profanity underscores the pent up rage. It’s an emotional slip for the previously silver-tongued devil, and a subtle hint for his surprising climactic decision at the end of the film. When Tyrell informs Roy that there is no way to extend his lifespan, he disposes of his creator and Sebastian.

Deckard learns of the deaths of Tyrell and Sebastian on his radio, and decides to check out Sebastian’s place. What follows is the infamous final confrontation between Deckard and Roy. Deckard offers absolutely no challenge to Roy. Roy’s methodical killings of before are replaced by a sadistic playfulness. Driven past the point of caring upon the realization of his inevitable mortality, he plays cat and mouse with Deckard. In the middle of their game Roy’s hand begins to seize up; his time has come. Deckard attempts to jump from one building to the next to escape, but doesn’t go the distance, grasping the edge hanging precariously high above the ground. Roy catches up to him and easily makes the jump to the next building, standing above Deckard as his fingers slip. But just as Deckard’s grip fails, Roy grasps Deckard’s arm and hoists him up onto the building, saving his life.

In this moment Roy realizes that the most human gesture he can make before death is forgiveness. Saving Deckard even after he killed all his companions was an act of mercy and forgiveness that made his final deed a human one. Roy has reached the stage of acceptance, and ponders in his death soliloquy that once someone dies, all of their memories are lost. All their experience is gone forever. As he puts it, “All those moments will be lost in time, like tears in the rain.” An immortal line written by Rutger Hauer himself, it fixes an image to the human fear that we won’t have a legacy, and that all we’ve learned and experienced will be lost forever. Roy believes that with the loss of his experiences, humans will remain ignorant of the nature of replicant life, and that humans will continue to view them as objects to be used instead of living creatures. As he dies peacefully, a dove ascends out of the oppressive city. The shot seems to suggest that Roy does have a soul, and the dove symbolizes something pure and innocent. Roy has redeemed himself by saving Deckard, and his purified spirit ascends to heaven.

Blade Runner is a pensive film. It takes its time unravelling to give the viewer a chance to think along with it. It’s about a man that learns to embrace his humanity from the very machines he’s expected to kill. He even falls in love with one. It makes us wonder what truly constitutes life, and what value a life has after it’s gone and forgotten. Blade Runner is moody, stylized, and very open to interpretation. It’s certainly not a film for everyone, but for the people that enjoy when movies offer more questions than answers, there are few that have done it better.

5/5 replicants

Version Guide

There are five distinct cuts of Blade Runner available on Blu-ray, so I figured I’d do a quick version guide and offer my opinion on the best version of the film (it’s not the Final Cut).

  • Work print (1982) – The original work print shown to test audiences. It is a few minutes shorter than the other cuts, which are practically all the same length. It contains different opening credits, and one instance of voice over narration during Roy’s death scene different than the one heard in the theatrical cuts.
  • U.S. Theatrical Cut (1982) – Voice over narration was added that elaborates on certain plot points and offers background information. This version also contains a happier ending.
  • International Theatrical Cut (1982) – Identical to the U.S. Theatrical cut, only it has a few instances of unedited violence.
  • Director’s Cut (1992) – This version removes all voice over narration, and the happier ending. It also inserts a unicorn dream that heavily suggests that Deckard is a replicant. This version doesn’t contain the extra violence.
  • The Final Cut (2007) – Everything in this cut is cleaned up. The visuals, the sound, etc. Visible wires were removed from the flying cars, and an obvious stunt double’s face was digitally replaced with the actress’s face. Includes a longer unicorn dream, no narration, Roy apologizing to Sebastian before killing him, a different background for the dove shot, the violence from the international cut, and green color grading. Roy also says “I want more life, father.” This is the only version besides the work print where he says father instead of fucker.

My favorite (short version): The director’s cut.

My favorite (long version): The green color grading of The Final Cut is awful. It buries the spectacular world and neon colors in a gross green. Using CGI to replace a face and cover up wires is also a bit too revisionist for my tastes as well. I also think the assertion that Deckard is a replicant ruins the theme of the movie. Therefore, I don’t like the unicorn dream. I also don’t like Roy apologizing to Sebastian, it’s out of character. And father just isn’t as powerful as fucker, even with the God complex connotations. As for the theatrical cuts, the narration isn’t all that awful in my eyes (it’s performed pretty badly), but it is a better film without it. It has some interesting background information, but it ruins some of the ambiguity. I do like that the theatrical cut doesn’t push the idea that Deckard is a replicant, because it’s missing the unicorn dream. The happy ending is inconsistent with the movie’s tone though. So my ideal version would be the international theatrical cut without the narration, and without the happy ending. But since we don’t have that cut, my preferred version is the director’s cut, with the international cut coming in a very close second. You should watch both of those cuts just to get the full experience. I switch back and forth depending on my mood.

This review is dedicated to Rutger Hauer. Thanks for the films, man. We’ll miss you.

 

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17 comments

    1. Harrison=Breaking my Heart. I understand though. Every criticism people throw at this one I think impacts the sequel ten times harder. I agree with Rutger, 2049 had no soul. I also agree with Ridley Scott, it was too long.

      What’s your favorite cut of the original movie Lebrain?

      Liked by 2 people

      1. The 1992 cut.

        It’s been so long though, that some of the details in this review were forgotten to me!

        I prefer “father” to “fucker” for the religious overtones, but that’s just personal preference. Maybe you and I should edit a perfect edition from the pieces of these 5?

        Like

        1. We could. The Final Cut probably wouldn’t fit stylistically with the others because it’s a different scan with different grading, and the work print wouldn’t work that well because it’s from a degraded source, but we could find a way to make it fit. Can rule out the U.S. cut too just because it’s the same as the International. So the International, director’s, and work print, maybe we could take out some Final Cut green, but then again there’s not really anything from that version of the film I would want to use. I need to see the work print again, it’s the only one I’m not really super familiar with. As of now I stand by saying I think the perfect cut is the International version without the narraration and without the happy ending. And that’s the same as saying I would like the director’s cut without the unicorn dream and with the extra violence.

          Liked by 1 person

        2. I could probably lose the unicorn dream if you put a gun to my head. I’ll have to see the film(s) again and judge. Part of the reason I liked the unicorn dream was I thought it gave Edward James Olmos a little more to do, and who doesn’t like a little Eddie James?

          I can usually do without extra violence, but it was a pretty minor difference if I recall.

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        3. I like that it’s more subtle in the original cut. Like how Gaff seems to show up everywhere that Deckard is afterwards. The implication that Deckard is a replicant doesn’t bother me. I think it adds more confusion to a film already rife with tension. It’s how explicitly Scott argues it in the last two cuts that rubs me the wrong way. Way too obvious. Leave it open ended.

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        1. Not nearly as much as the second one. It’s hard to believe this one is actually under two hours. Unlike 2049 which is almost three hours!

          Liked by 1 person

        2. Only the Vangelis stuff recycled from the first one. I think Hans Zimmer did the rest. That guy is a no talent ass clown. Don’t know how or why people keep hiring him. His theme from the Dark Knight is two notes. Two fucking notes! I bet his Dune theme will be a one note opus. Fuck Hans Zimmer.

          My buddy loved 2049, so I got it on Blu-ray to watch it again. Still didn’t click. The 7.1 mix is insane though. Tons of bass, just pheonemal sounding. Would have been better if they’d gotten a composer that could write a discernible melody.

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  1. Nice DVD set, Mike. I got the 5 disc Blu-ray set with more minimal packaging. It looks fantastic in 1080P. Supposedly the 4K of The Final Cut gets rid of a lot of green. I may have to check it out.

    Liked by 1 person

    1. I bought this about six months before I bought a blu-ray player. The exact same set was available in both. But I wanted that spinner car and didn’t want to wait and miss out.

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  2. Just leaving my own comment for Holen here — well done. This is the kind of review that makes me jealous because I don’t write reviews with this kind of depth, though I try. There’s a lot here that I may never have considered before (the dehumanized Deckard) and lots I plain forgot.

    It was a blast taking pictures of my box set. It’s a beautiful box set. The spinner car alone. Do you see all that detail??

    Like

    1. Yeah. That spinner car is very well done. Wonder why it only came in the DVD set?

      I wouldn’t be jealous. We’ve all got our talents. You seem like much more of a people person than me. And you’re emotionally solid as steel with everything you’ve been through. Coming out of all that totally intact is impressive. You’re a helluva guy Ladano.

      I never had to study in school. Not even in college. I just got As. All my teachers encouraged me to pursue their subject because they thought I had a knack for it. I was really just good at all of it. I remember impressing this girl from Oklahoma sitting next to me when I got up and totally improvised my speech final and got a perfect score. I was arrogant enough to believe I wouldn’t fail, so I didn’t. I don’t know if that’s really arrogance or just knowing my abilities.

      I remember watching Blade Runner the director’s cut 1997 DVD in the background studying for that final. Funny.

      I’m curious though, did you have any expectations for my writing before I sent that first Kix review?

      Liked by 1 person

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