“The design of the film is the script.” — Ridley Scott
This year marks the 40th anniversary release of Blade Runner, one of the greatest science fiction films ever made. I’ll admit, that is a subjective statement, yet the movie consistently ranks high on many film lists. Its influence over the SF genre and pop culture cannot be overestimated; it is the proto-typical, cyberpunk cinematic experience. It raises questions about the self, the authenticity of our humanity, slavery, artificial intelligence, genetics, the police state, ecological disaster, urban squalor, economic disparity, and oligarchic corporate control. If that sounds like a lot, it is. The movie showcases some of these themes more than others, but all are present, powerful, and pertinent.
In this first of four essays, I’ll touch on what I call a ‘dystopia of convenience’ in the film. I will primarily refer to the Final Cut released in 2007, since it is the most complete vision of the story that Ridley Scott, the director, intended.
Nearly every frame of Blade Runner is a damning condemnation of human greed disguised as progress. Everything — from the city streets, the furniture, vehicles, fashion — possesses a grandeur and nostalgia as if we’re looking at a funeral. A wake for the world we once had…and the world we wanted. From the opening shot of the so-called…
