Ridley Scott’s Blade Runner, is cited as ‘postmodern’ by a large amount of its fans since becoming a cult classic years after its release back in 1982. The main reason for this is because it uses time bending, pastiche, nostalgia, hyper reality and the use of a cliff-hanger to create a feeling of un-certainty about Deckard’s future.
The film noir genre and the 1940s film conventions used throughout Blade Runner are contradicted by the futuristic setting of the film; it’s set in 2019. Scott’s use of constant rain in Los Angeles, the steam in the background of the streets, deep voice over narration and Deckard’s old-fashioned detective style clothing go against the technological imagery the film uses to look futuristic. Scott uses pastiche to rehash both the classic film noir imagery, and common views on what the future is to look like and the state of the world in regards to pollution; this links to Jameson’s theory that most post modernism is recycling of the past. Also, this mixing of textual references and images gives the film a very postmodern aesthetic and also creates a sense of time bending.
The films use of hyper reality is similar to that of Peter Weir’s 1998 hit, The Truman Show; the world that was recreated for Truman Burbank may be seen as more desirable then the lives in which we lead ourselves. The replicants in Blade Runner are shown to all be young, good looking, smart and more human than human, thus making them seem better suited for life then the rest of us. This use of hyper reality links to Baudrillard’s theory that we don’t know what is real and what is simulated just like Rachel being a replicant and not knowing it.
The film uses nostalgia, a sentimental longing for the past, in relation to Deckard’s photographs that are shown to be all over his house, which are always ones from his childhood and none are in colour. This also links to the fact that Deckard may be a replicant himself, as replicants like photographs of their ‘created’ memories to make them feel more human and the fact that he has none of himself recently. Nostalgia is quite a postmodern feature in relation to film and is used throughout Blade Runner with multiply references to the past. Some of which are prominent during his scenes with Rachel.Postmodernist films usually only portray two kinds of female characters; the good, middleclass housewife or love interest, or the bad sexual deviant. In Blade Runner, there are three main females who are Rachael, Zhora and Pris. Rachael is seen to be well spoken and smartly dressed and a ‘good’ character, so it is unsurprising that Deckard falls in love with her. Also, his love for Rachel also links into film noir as their relationship shows signs of fem fatale, similar to that of Michael Curtiz’s Mildred Peirce (1945). Zhora and Pris are both seen to dress in a provocative way and are seen as mere sexual objects to the males in the film; thus linking to the fact they are seen as ‘bad’ characters that are ultimately ‘retired’ while Rachael is able to escape with Deckard.
One of the main focuses of the film is death and immortality, for replicants are only able to live for 4 years, yet Roy and Pris’ main aim throughout is to seek a way to live longer. To do this they seek help from Sebastian, who due to a condition where he too ages fast, he takes sympathy on the replicants and helps them.
The replicants are unsuccessful and the fact that all life must come to an end is seen as almost a moral to the film, which is seen when Gaff states to Deckard, "It's too bad she won't live, but then again, who does?".
The ending of Blade Runner itself is very postmodern, for it ends on a cliff hanger where it is suggested that Deckard may ironically be a replicant himself but it is never verified; the audience are left to make their own decision on the matter and the director himself never confirmed whether he was or not, un till recently. This is seen as a post modern aspect as it ends the film with no closure.
To conclude, I do feel that Blade Runner is a post modern film as well as a film about post modernism, because as this essay clearly shows it includes a great deal of elements links to post modernism as well as satisfying Jameson and Baudrillard’s theory on postmodernism.
Run time: 117 minutes Certificate:
Released date UK: 9 September 1982
Stars: Harrison Ford, Rutger Hauer and Sean Young
Genres: Drama, Sci-Fi and Thriller
Budget: $28,000,000 (estimated)
Opening Weekend: $6,150,002 (USA) (27 June 1982) (1295 Screens)
Gross:$27,580,111 (USA) (1982)
Director: Ridley Scott
Writing credits: Hampton Fancher (screenplay) and David Webb Peoples (screenplay) Philip K. Dick: based on the novel "Do Androids Dream of Electric Sheep?".
