Tag Archives: Harrison Ford

BLADE RUNNER (1982) & BLADE RUNNER 2049 (2017)

When s Blade Runner 2049 was released this Fall, many were surprised that it did not meet box office expectations. Nor did it’s father, s Blade Runner (1982). Having seen the original on its opening weekend, I’m among those who witnessed its initial weak box office evolve into a cult phenomena. ‘s The Thing, released the same year as Blade Runner, also took off slow amidst lukewarm reviews, yet both became examples of visionary science fiction, joining a small cluster of classic films from the last half century that includes Close Encounters of the Third Kind (1977), Invasion of the Body Snatchers (1978), Alien (1979), E.T. (1982), Videodrome (1983), Back to the Future (1985), The Fly (1986),  A.I. (2001), Minority Report (2002), Eternal Sunshine of the Spotless Mind (2004), Children of Men (2006), and Prometheus (2012) (and of course a few others). Like ‘s aforementioned Close Encounters, competing edits of Scott’s Blade Runner (my advice: go with “The Final Cut”) didn’t hinder its eventual cult status.

Based on ‘s novel “Do Androids Dream Of Electric Sheep?,” the iconographic texture of Blade Runner was apparent mere moments into its release, despite the awkwardness of the silly studio-mandated Phillip Marlowe narration (supplied by star Harrison Ford as Deckard) and a happy ending that was woefully unconvincing for a film that practically defined dystopian noir. Thankfully, Scott was able to restore the film and added to it considerable by omitting those executive errors (while excising five minutes).

With his “Final Cut,” Scott cemented Blade Runner as his second (and greatest) of three unquestionable science fiction classics (the first being Alien and third being its belated prequel Prometheus—which of course will provoke futile debate). The cast is uniformly excellent. Despite its initial weak box office performance, Blade Runner made a brief star of antagonist , whose characterization of the replicant Roy is far more haunting and aptly hammy than its source material. The same could be said for Sean Young; she’s magnetic as Rachel, in her chic 2019 shoulder pads and -inspired bob, diaphanously exhaling a smoky-treat. Darryl Hannah as Pris (with lethal thighs), Brion James as Leon, and the eternally underrated Joanna Cassidy as the snake-wielding Zhora make a trio of memorable replicant villains, more poignantly human than most of the humans. Apart from Ford’s Deckard, who—as has been noted and debated endlessly—is possibly a replicant himself, the human exceptions are Joe Turkell as doomed Dr. Tyrell and William Sanderson as the pathos-ridden toymaker Sebastien. Both remain etched in the memory.

Still from Blade Runner (1982)There’s little need to rehash Blade Runner’s plot or dive into the polemics it has inspired (i.e. the significance of the origami unicorn). What we can assuredly agree upon is that it is an innovative production of its time—MTV does German and Continue reading BLADE RUNNER (1982) & BLADE RUNNER 2049 (2017)

STAR WARS: THE FORCE AWAKENS (2015)

Star Wars: The Force Awakens (2015) is everything George Lucas’ Star Wars prequels promised to be, but fell short of. Director J. J. Abrams finds the pulse that somehow evaded creator Lucas himself: the appeal of Star Wars is not found in Luke Skywalker. Rather, it’s heart is the space age swashbuckler, Han Solo. There is probably nothing duller than the zeal of a religious convert. The prequels convinced us of that by honing in on the Luke-ian brand of mysticism. At its best, Star Wars is more soap opera than opera, but someone forgot to tell Lucas that, and he approached his second trilogy with the seriousness of “Parsifal” (Wagner’s very long take on the King Arthur legend). Without a Han Solo-type to offset all that pseudo-religious mumbo jumbo, crash landings were inevitable. There were enough stand out moments in Episodes I-III to retain the loyalty of an audience who hoped in vain that Lucas would improve; although, for some, Revenge of the Sith (2005) was a payoff.

Poster for Star Wars: The Force Awakens (2015)Without Harrison Ford and the always delightful Alec Guinness, the original Star Wars (1977) might have been a one-shot because, despite the epic FX, it takes vibrant, identifiable personalities to ground it. We certainly did not get that from the “Taming of the Shrew” robot couple, C3PO and R2D2 (thankfully, the duo only make an obligatory cameo in The Force Awakens). Nor did we get it from Leia, the princess with a headset styled ‘do (she’s more likable thirty-eight years later). It was left to relative newcomer Ford and veteran Guinness to pilot us to movie magic, which they did (although Guinness forever grumbled about the fame of Star Wars, lamenting that he would be remembered for this role instead of his superior work in the Ealing comedies of the 40s and 50s). Under the assured direction of Irvin Kirshner, The Empire Strikes Back (1980) smartly retained the linear flow and finale of its cliffhanger sources, making it the best of the trilogy (despite the bumper sticker wisdom pontification of Yoda). In Empire, Luke briefly escapes his Arthurian trappings, becoming both vulnerable and more likable. Unfortunately, Richard Marquand directed Return of the Jedi (1983) and he had no feel for the material. Continue reading STAR WARS: THE FORCE AWAKENS (2015)