'Blade Runner': a brief study in American history, film noir...and music

Rating: Null/10 (10 December 2008)

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Considering the 800+ other comments on this 20th Century-made (and 21st Century 'still enjoyed') Ridley Scott-produced 'future history' story of Philip K. Dick's 'Do Androids Dream of Electric Sheep' vision of the future, I stand amazed this was the one chosen for a film adaptation. Asimov, Clarke, Heinlein, Gifford, Patterson...others, have written reams of sci-fi(?) future history stories, any number of which would produce an enjoyable and intellectually-stimulating celluloid. In defense, however, Dick's tight, concise and mentally-graphic storytelling are the product of specific genius. The fact that director Scott and his 3-D, art-directed team 'got' Dick's vision is testament to adaptability from a great story line for film. In truth, a movie version of any of the aforementioned treatises would have forced a monstrous series of film productions instead of a regular, two-hour viewing conducive to a regular movie-going event (with few exceptions, 'series' often fail to produce box-office monies from the original construct).
Having said that, Dick's tough storyline, the resultant and beautiful screen-play, art direction, studio and on-location construction, and Scott's direction, have made 'Blade Runner' a euphoric and time-honored cult classic. The fact that this was Hollywood's last, great effort on an analogue film (no special effects were produced by computer generation - unknown then) bears witness to true 'on-film' making graphical expertise. Cutting-edge, then, and still stands triumphant in spite of its age.
In addition - and strongly in merit - the concept of hearkening a film-noir essence from the 30's to exact the nuances of a distopian future history, tied directly to an American republic past, is pure genius. All the un-loosed ends of our civil problems: overpopulation, corporeal greed, castration of civil rights, global pollution...illegal governmental intravention...illegal aliens...are addressed one way or another in this dark, emotionally-charged but lens-clear vision of the multi-cultered American vision of our global future. It's as if the roots of our fatherhood slowly stood within the movie theatre and silently applauded, reckoning a civil duty. A film, and vision, vastly ahead of its time...
In any movie, the music 'sets the tone' for its ambiance. Audiences as a whole - and individually - identify the theme of a film from its music. Scott was adroit in his choice of 'Vengelis' (Evangelos Odysseas Papathanassiouas) as the film's music author. A Greek music composer and self-taught musician (he has sold over 20 million albums), Vangelis is 65 years old now, and has understood - inimitably - the essence of film thematic music (he is an absolute 'film buff'). When you listen to his efforts to construct the theme music for this film (see, 2nd disc 'Blade Runner - The Final Cut'), you'll understand his pathos for this movie. One of the ultimate decisions to include this film within my 'All Time' favorites is Evangelos' empathetic and counter-point music, deftly underscoring the harsh realities of the film. It helps soften my stern nightmares of our future...
Bob Shank Jr Tucson