This 1982 version features a detective-noir-like narration overdub by Harrison Ford, which takes some of the mystique out of proceedings, as well as a jarring "happy" ending, demanded by studio executives at the time, that was reportedly filmed after the main production and tacked on at the end. The original, theatrical cut of Blade Runner was released in 1982, and while it’s no longer seen as the definitive version of the film, it’s very much still worth watching to get a feel for how this many-times-edited film has evolved over the years.
BLADE RUNNER PLAAYING NEAR DEERFIELD TV
Where to watch Blade Runner: The Final Cut in the USĪpple TV / iTunes ($3.99) (opens in new tab)ĭigital - Amazon ($14.99) (opens in new tab)īlu-ray - Amazon ($7.98) (opens in new tab)ĤK - Amazon ($24.99) (opens in new tab) Where to watch Blade Runner: The Final Cut in the UKĪpple TV / iTunes (£3.49) (opens in new tab)ĭigital - Amazon (£4.99) (opens in new tab)īlu-ray - Amazon (£7.99) (opens in new tab)ĤK - Amazon (£17.99) (opens in new tab) Blade Runner (1982) The Final Cut retains all the action and wonderful set design of the original, but smart edits make for a more meditative and intoxicating film, luxuriating in the subtleties of the actors' performances without the heavy-handed exposition that Ford’s original voice over weighed the film down with. It removes the unnecessary overdub of the 1982 version, restores some cut scenes and puts greater emphasis on the much-discussed "unicorn theory" – the central mystery of the film, that we won’t ruin here. Lovingly remastered and re-edited by director Ridley Scott, it’s the film as Scott intended it to be seen all those decades ago. All in all a stunning film that although may never match the raw emotion of Rutger Hauer's final 'tears in the rain' soliloquy, it offers a simple yet age old message that is creatively delivered and stylishly told.If you’re watching Blade Runner for the first time, make sure you watch this version: 2007’s "Blade Runner: The Final Cut". The ever-present driving rain makes even the broadest vista seem strangely claustrophobic as our hero makes a life-changing discovery and invites the viewer to question their own life, it made me ask 'what kind of human am I?' 'Am I all that I can be?' Whether intended or not, I feel the message is that life, in whatever form it has been presented, is a gift and it is up to every single being to make sure that it isn't wasted. His jarring, slightly wooden and emotionless depiction of one of the highest placed humans in terms of social and economic stature, cleverly illustrates that the most inhuman being in this dark world is in fact made of flesh and blood. The normally delectable Jared Leto could be criticised for his performance as blind creator of the replicant civilisation, Wallace, but I would disagree.
The few remaining humans carry out their day to day life amid a society which is largely occupied by modern replicants who seem to have found their own level or semblance of 'life'. Gosling provides us with the dour yet stoic 'K/Joe', our titular character as the Blade Runner, tasked with rounding up remaining old-style replicants from an Earth which has pretty much been destroyed by humans, most of whom have since elected to live 'off world'. The cinematography was visually amazing - the USA of the not too distant future depicted awash with red dust, almost post-apocalyptic deserted cities and given recent political shenanigans in the real US., possibly not surprisingly, a great deal of Russian influence in the style and culture of the remaining social and architectural landscape. Whilst Denis Villenueve has forged his own path with the second instalment of this futuristic tale of humans and replicants, there were certainly enough nods to the original to ensure that this was indeed a close relative if not 'brothers'. This is a review I wrote in 2017 for Blade Runner 2049 - the much awaited sequel to the hauntingly spectacular original directed by Ridley Scott.
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