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We’ve talked about the movie’s thematic structure, how Rick Deckard becomes a robot over the course of the movie, having started out not far removed, and how Roy Batty is humanized as he accelerates toward his engineered death. The only weak link in the narrative extends from this point – the tears in rain monologue was of course very telling of Roy Batty’s character as human, but it was meant to reflect on Rick Deckard as a replicant. One of the endings of Blade Runner (never filmed) was Deckard taking Rachel up north and shooting her in the back, which would have worked perfectly after the monologue scene, where our hero must embrace the robot he’s become.
Of course, what we have in the Director’s Cut, which in my opinion is the most best Cut (I hate that I even have to make the distinction) is the taste that lingers – ambiguity, as some see it. I see it as a clever bookend and a confirmation on what we’ve observed earlier, that Deckard is in some sense a replicant, and the preface to a truncated denoument.
Of course, had Blade Runner shown Deckard shooting Rachel, which we may or may not infer happens after the credits, it may have suffered Boyz N the Hood syndrome: we didn’t have to be shown (or told, rather blandly) that Doughboy dies young, it’s been implied internally in the narrative. Not only that, but it seems to be pounding the sadness of the South Central situation on to near excess. So maybe we don’t need to see the guy shoot the girl, because it is in some way implied – as an extension of Deckard as dehumanized robot – but I see too many pros over cons to the scene.
Running with this thematic thing, the hypothetical shooting of Rachel serves only the plot, a payoff to the various discussions of “No [I wouldn't come after you]. But somebody would,” but an actual displayed shooting of Rachel would have a grave tragedy to it because of the visceral nature of the act itself – its power lies in its existence, which sounds stupid, so in other words we need to see it in order for it to work. This is film, after all.
Rachel walks out into a clearing and Deckard is there behind her (I believe while snow is falling) mulling it over with that stoic and shadowed face, and then shoots her and walks off. He doesn’t like it, but he’s not human anymore, and this is the demonstration of that fact. That would solidify the themes whereas now what we’re sort of stuck with is endless ambiguity. Will Deckard and Rachel live a happy life together? (I guess that’s explored in the sequel novels – Blade Runner 2: The Edge of Human through Blade Runner 4: Eye and Talon) Is Deckard a replicant? Will Gaff ever find true love?
So basically Blade Runner‘s ending should be like what Jin-Roh has. Kill the girl, embrace the wolf.
It’s too bad she won’t live. But then again – who does?
For more on Blade Runner, check out the Blade Runner Directory
Like Ridley Scott, Mamoru Oshii is an unsung hero of science-fiction in film. He became a name among nerds in America in 1995 with the global release of Ghost in the Shell, a film that touted itself as the next Akira, as I suppose every anime movie does or should. It was based on a manga by Masamune Shirow, but having read quite a bit of the source material myself (ten pages?), I can tell you that the movie is definitively a product of Oshii.
We can also see this as true because another Shirow flick, Appleseed, is child’s fare intellectually compared to Oshii’s Ghost in the Shell. The man has a style, he has obnoxious signatures, but above all, he’s willing to use the medium of film to do what so few other science-fiction filmmakers dare to do – explore. Whether it’s ideas of personal or metaphysical philosophy or new and profound imagery, Oshii always has something fascinating to say, and an equally fascinating way to say it.
I think I’ll paraphrase a quote used to compliment The Fountain – something like it’s a film that’s as deeply felt as it is imagined. That’s a beautiful criticism, and for a cerebral, thoughtful science-fiction film, I can think of no higher accolade. Such an accolade can easily be applied to movies like Ghost in the Shell, Innocence, Avalon, Patlabor 2 (though I really didn’t like that one), and even Jin-Roh, though he didn’t direct that one (it’ll still be covered here). Sure, his movies lack the emotional depth of The Fountain, but they make up for it in science-fiction themes generally unique to the director.
His visuals are matched by their ideas, and in this was he’s a director who fills out what I believe to be the height of science-fiction film. If the greatest, most important sci-fi flick is Blade Runner, this is because it makes us think, maybe it scares us into thinking but I like to think it moves us to do it as well, and dazzles us with visuals that spark our imaginations.
That is what I ask of sci-fi filmmakers to do, because I personally find that to be the best, most engaging experience I can have watching a movie. The images and thoughts of Oshii linger in my head long after the Major’s joined the Sea of Information, long after Ash has joined the Sea of Information, long after Batou has… walked off with a dog.
I also got some of his older stuff in the mail, two of which I haven’t even seen. Hopefully they’re good, because that’s what we’re starting with…