Blade Runner: The Final Cut
Directed by Ridley Scott
HOME, 10 October 2017
Although Deckard (Harrison Ford) is the grizzled, bruised, noir hero – he spends the whole of the film getting pushed around and beaten up – it is primarily Roy’s (Rutger Hauer’s) story.
He is the monster, a prodigal son or so we hear, who kills his creator. This happens after he delivers a classic checkmate (clearly, someone on the film had read Ernest Jones’ paper on Paul Morphy), a replay of the Immortal Game (Anderssen-Kieseritzky, London 1851), a neat touch with an endearing anachronism: the moves are given in English descriptive not algebraic notation (as is now the norm). In due course Roy becomes a kind of Christ figure, stigmata in one hand and white dove in the other, an excess of empathy compelling him to come to Deckard’s aid. Interestingly, one of the driving motives behind the current transhumanist agenda is the prospect of moral enhancement.
The ending is abrupt yet deftly done: Deckard picking up the origami figure of a unicorn, a fabulist beast not unlike Roy or Rachel, one that haunts his (but are they his?) dreams. A classic film: as exciting, entrancing and enigmatic as ever.