The city landscape in Blade Runner
By
Craig Elvy
Published 24 minutes ago
Craig began contributing to Screen Rant in 2016 and has been ranting ever since, mostly to himself in a darkened room. After previously writing for various outlets, Craig's focus turned to TV and film, where a steady upbringing of science fiction and comic books finally became useful. Craig has previously been published by sites such as Den of Geek.
Craig is an approved critic on Rotten Tomatoes.
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Whereas most movies are lucky to get one director's cut, Blade Runner has a director's cut, the "workprint" cut, the final cut, and several other slightly altered edits. It's a situation that derives largely from controversial changes to Ridley Scott's original vision. Among the most egregious, Blade Runner's theatrical version removed key sequences and manufactured a happier ending for Deckard and Rachael.
Precisely which version of Blade Runner should be considered the best remains a hotly-contested issue. Many opt for either Ridley Scott's director's cut or the more recent final cut, but the theatrical variation has its supporters too, most notably Christopher Nolan. Arguments can be made for almost every alteration and tweak within the various different Blade Runner edits, but there is one specific addition that's very difficult to defend.
Deckard's Narration Was Always Bad, But It's Even Worse Today
Harrison Ford as Rick Deckard in Blade Runner
Added at studio insistence due to concerns about the film being hard to follow, Blade Runner's theatrical cut features Harrison Ford as Deckard narrating parts of the story. Both Ridley Scott and Ford himself have expressed disdain for the narration, with Scott excising it from later releases and Ford claiming (via Variety), "I like any cut without the voice-over."
It's certainly easy to see where Ford is coming from. When you first watch Blade Runner, the narration feels patronizing and unnatural. One especially egregious example comes shortly after Blade Runner begins signaling Deckard's developing feelings for Rachael through gentle hints, only for Ford's narration to steamroll in and confirm said feelings explicitly, killing all intrigue.
The diary-like narration also feels out of sync with the character of Deckard, who is otherwise depicted as a closed book. Not helping matters, Harrison Ford performs voice-over duties with all the enthusiasm of a flu-stricken sloth. For many years, it was believed the actor intentionally sabotaged the recordings, hoping a poor performance would avert the narration being added. Ford has since insisted this wasn't the case (via Playboy).
As bad as Blade Runner's narration is upon first viewing, however, time has only made it harder to stomach.
When used effectively (and deliberately), a good narration can offer narrative and emotional insight not communicated elsewhere, deepening the bond between protagonist and audience. Deckard's narration was expressly designed for exposition, so whereas it's jarring and unwarranted the first time, it'll have you reaching for the mute button during repeat viewings. It's like watching with a friend who keeps describing the plot, no matter how many times you tell them you've seen it before.
It's a shame, because Blade Runner is a movie that demands multiple viewings, whether to see if Deckard really was a replicant all along, to examine the beautifully detailed landscape, or to delve into the philosophical subtext. All of that is undermined by Harrison Ford's droning commentary grating on the nerves.
Deckard's Narration Directly Hurts Blade Runner's Ending
Deckard and Rachel riding in a car from Blade Runner
One reward of rewatching Blade Runner is seeing certain moments in a completely different light. Knowing Deckard and Rachael eventually leave together, for example, not only reframes their early interactions with the Voight-Kampff test, but also adds deeper value to Roy Batty's musings about the meaning of life.
Deckard loving a replicant who could expire within four years is the very thing Roy was searching for - a way to accept uncertainty rather than living in constant fear. Alas, the theatrical cut's narration totally demolishes that message by revealing Rachael is "special," possessing an undefined lifespan. In that sense, she's just like a human, which negates the point of Deckard falling in love with a replicant in the first place.
The super-happy Blade Runner ending is annoying the first time round, but worse during repeats. The viewer watches Deckard fall in love, aware of the fact he knows Rachael has no lifespan limit. It raises doubts over whether he would have felt the same if Rachael only had a year left, lessening the impact of his decision and ensuring that Blade Runner's theatrical cut will always be ill-suited to rewatches.
Sources: Variety, Playboy
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9.1/10
9/10
Blade Runner
10 stars 9 stars 8 stars 7 stars 6 stars 5 stars 4 stars 3 stars 2 stars 1 star Like Follow Followed R Sci-Fi Thriller Drama Release Date June 25, 1982 Runtime 118 minutes Director Ridley Scott Writers David Webb Peoples, Hampton Fancher, Philip K. Dick Producers Michael Deeley, Run Run Shaw
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Harrison Ford as Deckard holding his gun in Blade Runner
Rutger Hauer as Roy Batty with a bird in Blade Runner.
Sean Young as Rachael in Blade Runner
Rick Deckard in Blade Runner
A flying car lands in Blade Runner
The futuristic LA skyline in Blade Runner
Leon in Blade Runner
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