Review by © Jane Freebury
It took a decade to perfect the original Blade Runner by jettisoning the voiceover and upbeat ending and restoring some scenes that had landed on the cutting room floor – as they did in those days. Even though the film was first released in 1982, it wasn’t until after its re-release as a director’s cut in 1992 that it began to take on the burnished glow of a science fiction classic.
Despite VO and optimism tacked on at the end, the success of the original Blade Runner had earned its director, Ridley Scott, the right to have his way and take full creative control.
The compelling beautiful/horrible vision in the original film of a Los Angeles in 2019: a city riddled with rogue androids (replicants) and detectives (blade runners) hunting them down, a city some citizens had quit for a better future in colonies off-world.
It may have taken some time to catch on, but catch on it did and generations of filmgoers have been keenly anticipating this sequel.
It opens with high impact. Police Officer K (an overly impassive Ryan Gosling) is cruising through the sky on his way to eliminate, or as they say ‘retire’, a rogue replicant living in remote seclusion. With the help of his drone, as obedient as a pet dog, K unearths a secret that could bring the whole house of cards down. It may be that replicants can reproduce.
Rather than mooch off with this intel somewhere, as his famous predecessor Deckard might have done, he faithfully reports his find to his boss, Lieutenant Joshi, a scary, slicked-back Robin Wright. He’s told to destroy the evidence and go find out more. This eventually leads him to Deckard (Harrison Ford) who’s hiding out in a nuclear devastated Las Vegas.
A stunningly handsome, and not preposterous, dystopian vision
Blade Runner 2049 is a breathtaking, fascinating vision of dystopia, a little further advanced. Plant and animal life have all but disappeared, the rain brings acid with it instead of life’s promise, the golden voice of Frank Sinatra is on a loop. The Asian market-themed streets are busy with hookers and addicts, and the LAPD inhabits one of the biggest high rises in town.
A few brands project their logos into the night sky – Sony, Atari, Coca Cola, Peugeot – and it’s eerie beautiful. At least someone can keep their lights on.
Canadian director Denis Villeneuve and the team – including Ridley Scott as producer and one of the original writers, Hampton Fancher – remains faithful to the brilliant and suggestive production design of the original with a stunningly handsome, and not preposterous, dystopian vision.
The vision a world in the grip of drastic climate change, and human exploitation on a vast scale with hundreds of skinny, scrappy boys at work in a sweatshop as wide as the eye can see. A vast scrap metal dump that hides an underclass left behind by technology and shunned by the corporate creatives shaping a fascist future.
Nearly a century has passed since Fritz Lang made his science fiction classic Metropolis but the influence of his vision with its skyscrapers, highways in the sky, capitalists above and workers below, is still discernible.
From the late 1970s until the early 2000s, the English filmmaker Ridley Scott was probably at the height of his powers with work such as Alien (the original), Blade Runner, Thelma and Louise, and Gladiator. Each of those films told a compelling story and delivered it with powerful atmospherics. I can’t say he has shown his knack for a strong story with fabulous visuals as often since, though he was in fine form making The Martian.
It’s not enough to say they are all androids anyway
Blade Runner 2049 only makes a marginal advance on the narrative of the original, and it doesn’t really fire. Most of the US $150+ budget went into the compelling visuals, thundering sound and disturbing ambient score (Hans Zimmer collaborated on the music). Not enough went into concept and script development.
The characters are functions of the meagre plot and their interactions lack emotional punch. It’s not enough to say they are all androids anyway.
If the director Villeneuve has the opportunity of a director’s cut what changes might he make? At close to 3 hours running time, it wouldn’t get any longer, but he might swap some scenes like those portentous ones inside Wallace Corp – with the boss played by Jared Leto, the inventor who may be mad but is also blind – for more with Harrison Ford. The exchanges between Ford and Gosling were some of the best by far.
As were the scenes in Las Vegas where K finds Deckard, alone apart from a mangy dog, forced to drink whisky because that’s all there is to drink, and obliged to read books, because that’s all there is to do. In these scenes, with holograms of Sinatra, Presley and Liberace performing in the background, wowing the casino crowd, there is at least something that comes close to mood.
Here it’s nostalgia for a world that is lost. And it’s touching to realise that the quest overall is for something like our lost humanity.
Blade Runner 2049 is a marvel to look at, but its people are one dimensional. It’s a problem common to much of the tentpole cinema aimed at the core audiences today, but here we might have expected something more.
Also published at the Canberra Critics Circle, and broadcast on ArtSound FM 92.7