by James Wallace Harris, Wednesday, October 11, 2017
Normally I don’t write “reviews” of works I dislike. Why waste time on bad art, huh? I prefer to promote creative work I admire. However, in trying to understand why I disliked Blade Runner 2049 I asked myself, “What did I love about the original?” It came to me instantly – the voiceover. In that moment I realized Harrison’s Ford narration in the original film was the heart of the story. That insight also explained why Ridley Scott detested the voiceover. The narration must come from a human, and Scott wanted Deckard to be a replicant.
Before seeing Blade Runner 2049 I watched Blade Runner (final cut) with a friend. I explained the history of all the versions to her and offered to show her whichever one she wanted. She picked the final cut. Normally, I always rewatch the theatrical version, which is how I first saw the film back in 1982. Whenever I see one of the director’s cuts the viewing is always a letdown. They have the same sterile quality Blade Runner 2049 has.
Blade Runner 2049 is directed by Denis Villeneuve, with the story by Hampton Fancher and Michael Green. However, it feels like a Ridley Scott baby. Scott has always argued that Rick Deckard was a replicant and Blade Runner 2049 vindicates that idea to the point that I think of this film as an expression of his ideas.
Back in 2008, I wrote “Is It Time To Remake Blade Runner?” which was really a plea to film Do Androids Dream of Electric Sheep? as the story was written by Philip K. Dick. I believe the book deserves a truer conversion to film than Blade Runner. I can’t document this, but I believe Ridley Scott bragged that he hadn’t even read the novel when making the movie. Don’t get me wrong, I loved the original theatrical version of Blade Runner, but I don’t consider it very PKD.
When the screenwriters changed androids to replicants something else got changed. In the book, androids are soulless creatures who look like humans but completely lack empathy. They are self-aware but are also psychopathic sociopaths. I believe PKD intended them to be symbolic of inhuman humans. Blade Runner is about artificial creatures that were meant to be soulless slaves that have accidentally evolved empathy. We’re supposed to feel for them. And I did with the Harrison Ford voiceover.
Without the voiceover, both films are just action flicks of heartless machines killing heartless machines. Why has Riddley Scott never understood the Romeo and Juliet beauty of having a love story between lovers from two opposing houses? In Blade Runner 2049 we are taken on a meaningless thrill ride where it’s impossible to tell human from replicant – and I really didn’t give a shit either. There are a few touching scenes in Blade Runner 2049, but they are so artificial as to cause existential angst. At times we feel for K, our replicant protagonist, but the scenes are so obviously manipulating us that it’s hard to genuinely care.
In Blade Runner 2049 it becomes obvious the real problem is our lack of understanding of replicants. They are called skin jobs. That implies they are machines covered in skin. But that’s not true. In both movies, they bleed. In Blade Runner 2049 they seem to be artificially produced biological creatures that can’t reproduce on their own, and the goal of the mad scientist Niander Wallace (Jared Leto) is to create a Nexus model that is self-replicating. But what’s the fucking point of that? Humans are self-replicating, and we have plenty of them.
Wallace wants a new process to produce less costly slaves. The government obviously backs him as long as replicants don’t act like real humans. However, we also learn replicants have secretly organized into a slave rebellion. But why secret? What good is a secret mass-movement? Isn’t it obvious that replicants aren’t soulless machines? Do any moviegoers feel the replicants aren’t equal to people? That makes the whole point of the film a straw man argument. Truly pointless. It’s funny, but Jared Leto’s character is the most inhuman character in the film and he’s supposed to be human. Or will Ridley Scott pull another juvenile joke and claim everyone in this film was a replicant.
Our world is full of robotic slaves now. They don’t have consciousness. They don’t look human. They lack any kind of consciousness. A major theme of science fiction has always been about when robots become conscious. Generally, these science fictional robots are shown as looking human. I guess SF writers assume we can’t empathize with them if they don’t look like us. By the way, the film Her did a fantastic job of overcoming this problem.
We’ve always wanted to build robots that look like us, and that’s a problem. We want them to do our work, but we worry about robots becoming self-aware as us. If they do, we can’t keep them as slaves, and we fear they may become better than us. The TV show Humans is exploring this same topic. The trouble is Blade Runner 2049 adds absolutely nothing to this topic. The film only confuses the issues in its razzle-dazzle. It lacks both a heart and a brain. Almost every character is violent and action-oriented.
PKD’s original novel, Do Androids Dream of Electric Sheep? isn’t about action. His androids are conscious, self-aware beings that lack empathy. Rachel is alluring and beautiful, but a cold-blooded killer. Dick’s theme wasn’t robot suffrage. PKD believed the androids in his story deserved to be destroyed because without empathy they are evil, and in doing so infers that humans without empathy are evil too. PKD’s story wasn’t about killing androids but identifying inhuman humans.
Do Androids Dream of Electric Sheep? is vastly more complicated than Blade Runner. If I could film it I would give it the look of 1959 films, because I believe PKD formative decades were the 1940s and 1950s. Its future setting would be very retro-future. It would have the Penfield mood organs and Mercerism. And the story would focus on philosophy and psychology rather than fights and shooting. The film must keep Iran, Deckard’s wife. And it needs the fake police station, having Deckard doubt himself, and eventually proving he’s human. And it needs the artificial religion of Mercerism.
Blade Runner leaves so many fascinating concepts out from the original novel. First off, Rick Deckard isn’t a tough-guy like Harrison Ford, but a married man trying to save his marriage. Their livelihood depended on the bounty from killing androids. The novel opens with their marital squabbling, and the use of mood organs. Mood organs are personal devices for controlling psychological states. People in this future use them to subtly control how they interact with other people, cope at home and work, and explore hundreds of emotional states. PKD uses this imaginary device to dissect human nature. The book is stuffed with observations about what it means to be human. Blade Runner uses none of that. PKD was obsessed with psychiatry, psychology and philosophy and his stories constantly explore those subjects. The Blade Runner movies only faintly hint at the issues PKD brought up in endless ways.
Blade Runner 2049 does not define humans or replicants. We can’t tell them apart. In fact, the evil scientist who creates the replicants acts like a heartless AI, and K, the Ryan Gossling character, who we know is a replicant, when left alone is humanly hung up on an AI girlfriend (who may be a future descendant of Alexa).
Blade Runner 2049 fails horribly if you need a human story. For moviegoers who love eye candy, violence, and a rollercoaster plot, you’ll probably be happy enough.
What’s evil is trying to make millions by making a movie that lacks heart, based on a novel that struggles to define our hearts. Seems kind of heartless, don’t you think?
Blade Runner 2049 is chock full of touchstone analogs from the original Blade Runner. That felt manipulative like Ridley Scott wanted to push our emotional buttons as if we were replicants. Did he expect us to emotionally resonate with air hoses being pulled out, yucky eyeballs, pianos, giant billboards animated with Japanese women, microscopic photo scanning machines, bicyclists riding in parallel formation, machines that measure artificial minds, old abandoned apartment buildings, drinking whiskey from squarish glasses, women dressed like 1970s hookers, giant pyramid-shaped buildings, flying cars, sentimental photographs, umbrellas and rain, and so on.
Everything in Blade Runner 2049 seems set-up for additional sequels, but like his Alien franchise, they will probably continue to abuse the original. I’ve gotten so I hate sequels to books and films. There are few exceptions, but for the most part, sequels feel like they are conning me for my money.