Blade Runner (Ridley Scott, 1982)
Blade Runner is probably the most awe-inspiring science fiction film ever conceived. There is no part of the film that isn’t utterly brilliant from it’s grim depiction of the future ruled by commercialisation to the unforgettable score provided by Vangelis that perfectly accompanied the onscreen events like no other soundtrack. The film is probably only rivalled by 2001: A Space Odyssey in regards to the claim of being the greatest sci-fi ever made.
Rick Deckard, a former blade runner, is persuaded to take up his previous role to find and ‘retire’ 4 replicants who have returned to Earth illegally, causing havoc. Replicants are androids who appear in most facets to be human minus the fact that their lifespan is a mere four years before they expire. The replicants who have arrived on Earth are nearing the end of their lives and have returned to find some way to prolong their lives. What ensues is a beautifully crafted and intense neo-noir tale with many twists. turns and questions thrown to you to interpret as no answers may be offered.
One of the more significant scenes within the film is the one I’ve chosen here. Roy Batty, the leader of the rogue replicants succeeds in his quest and tracks down the creator, Tyrell. It’s an interesting scene and one that sticks out to me mainly because it’s a strange scenario; coming face to face with your god and your maker of all that you know. The conversation between creation and creator is astounding in the sense that you have an erratic Roy questioning Tyrell on the various potential solutions to his impending death before Tyrell’s famous line “The light that burns twice as bright, burns half as long. And you have burned so very very brightly“.
Progressively, the scene gets more and more intense and it goes along and as the answers Roy had hoped for become like distant improbabilities. It’s one of the many moments within this masterpiece that stick with you and one where your reaction on the end may vary depending who you view as being the antagonists/protagonists of the narrative.