Film Review: Blade Runner: The Final Cut
Tears In Rain…
Perfection is particularly hard to muster when it comes to cinema. Sure, there are particular films that will always be regarded as masterpieces such as The Godfather, Citizen Kane and Lawrence of Arabia, but mastery and perfection is ultimately down to personal preference. When asked what my all-time favourite film is, I can never pin down one particular movie that I could regard as the “greatest”, but there are certain films that will always be in that particular list such as Donnie Darko, Alien, Mulholland Drive, and finally, Blade Runner. Interestingly, two films within that short and sweet example happen to be directed by Ridley Scott, who, in my opinion, is one of the greatest directors in the history of cinema. Sure, his latest efforts haven’t gone down particularly well, but at the beginning of his career, Scott created films that were wondrous, ground-breaking, and will continue to stand the test of time, Blade Runner included. Because of this, cinemas across the UK this month are showcasing the reissue of Blade Runner: The Final Cut, the supposed definitive version of Scott’s masterpiece, giving me great pleasure in getting the chance to witness one of my most beloved films’ on the big screen for the very first time.
Based on Phillip K. Dick’s novel, Do Androids Dream of Electric Sheep? Scott’s Blade Runner was a film I never truly understood, or even liked, when I first watched it as a young child, with my first savour of the dystopian future in which Harrison Ford’s Deckard hunts down the rogue Nexus-6 replicants, was in its’ “Directors Cut” form, which omitted the divisive voice-over from the original theatrical release as well as adding the now famous unicorn scene and a much more ambiguous ending. Years later, with my love of cinema fully formed, I purchased the “Final Cut” version of the film when released on Blu-Ray and rediscovered a treasure that now I could truly understand, now I could really savour, and now would forever hold a place in my cinematic heart. On the big screen, the film is simply a wonder to behold with the beautiful soundtrack by synth-master Vangelis perfectly accompanying the dark, edgy tone of the movie of which is uncanny in its’ vision of the future where giant advertisements, crowded night clubs and desolate streets hark back to the age-old notion of capitalism, signified by the riches seen during Deckard’s trip to the Murdochian (is that a thing?) Tyrell Corporation.
The film boasts arguably Harrison Ford’s best career performance, who ever-so smoothly slips into the role of Deckard, perfectly portraying a much softer and anxious character than in previous Ford efforts at the time such as Han Solo and Indiana Jones. As good as Ford is, it is no question that the film’s best performer is Rutger Hauer, who in his portrayal of replicant Roy Batty creates one of the most unique scenes of improvisation ever with his beautiful “I’ve seen things,” speech, that, according to the filmmakers, resulted in some of the crew bursting into tears due to its’ sheer power and unrivaled beauty. What a magical moments it must have been to witness it. Lucky them. Aside from the two leads, Sean Young’s portrayal as Rachael, the denial-ridden replicant love interest of Deckard, succeeds in standing up strongly to her two male counterparts, whilst making the sight of smoking a cigarette look more attractive than I ever thought it possibly could be.
If you haven’t ever had the chance to watch Blade Runner, there is no better time to do so than now, with the option of watching it on the big screen too good an opportunity to turn down. There is something so beautifully haunting about Blade Runner that it draws me in again and again, no matter how many times I choose to watch it. A masterpiece of cinema and a true wonder of science fiction, what more do you want? Enjoy.
Overall Score: 10/10
Posted on 05/04/2015, in Film & TV, Reviews and tagged Blade Runner, Classic, cult, entertainment, Film 2015, Film Review, Harrison Ford, Re-Issue, Ruger Hauer, sci-fi, Sean Young, The Final Cut, Vangelis. Bookmark the permalink. Leave a comment.