Spoiler warning: these reviews reveal plot twists.
In 1982, during post-production of Blade Runner, a work-in-progress edit was shown to preview audiences in Dallas and Denver. Negative feedback led to numerous changes for the release version, such as the addition of both Deckard’s voiceover and a ‘happy ending’ scene of Deckard and Rachel escaping the city. Eight years after the movie came out, a 70mm copy of that early rough cut (known to Blade Runner fans as the workprint) was found and screened at film festivals. A buzz quickly grew, so Warner Bros decided to cash in. Despite its name, Ridley Scott was too busy to oversee this ‘Director’s Cut’ for its 1992 release, though it was an attempt to restore more of his original vision. As I’ve already reviewed the 1982 version of the film, this is instead a discussion of the changes made a decade later.
* The Director’s Cut uses the US theatrical version as its base, so it’s missing the 16 extra seconds of violence that were seen in other countries. A shame.
* Deckard’s narration has thankfully been completely removed. Early in the film, to plug a gap where voiceover used to be, we hear a longer Tannoy announcement coming from the massive blimp flying above the city.
* As Deckard sits at the piano in his apartment, he now has a 12-second daydream about a unicorn running through the woods.
* The film ends one scene earlier than before, with the lift doors closing on Deckard and Rachel. So the daytime shots of them driving into the countryside are missing.
Review: At the original film’s climax, Deckard finds a small origami unicorn outside his apartment. The fact it’s a unicorn is neither here nor there; it’s simply a tip-off that Gaff tracked down Rachel but let her live. However, the Director’s Cut introduces the daydream mentioned above, which gives the story new meaning. Now we must ask: is Gaff actually revealing that he knows what Deckard has been dreaming about? If so, does that mean Deckard himself is a replicant? Of course, a unicorn is a mythical, fictional creature: in other words, not real. The dream also acts as a magnet, pulling other pre-existing clues into focus:
* When asked if he ever took a replicant-spotting Voight-Kampff test, Deckard doesn’t answer.
* Deckard’s eyes glint in the light at one point, in the same way replicants’ eyes do at various times in the film. (Harrison Ford says this was an accident when he stepped across Sean Young’s mark – but of course the fact Ridley Scott used the take is significant.)
* Deckard’s apartment is littered with photographs. Not only are they mostly old-fashioned and black-and-white, so therefore seem to be from someone else’s life, but we’re told that replicants collect photos as a way of forming their own histories.
* When Deckard is briefed about his mission, his boss tells him that six replicants have escaped and that one was killed trying to infiltrate Tyrell HQ. That leaves five: Roy, Leon, Pris, Zhora… and Deckard? Could he actually be one of Roy’s gang reprogrammed to hunt them down? (Again, this plot ambiguity is actually a mistake: the line should have been that two were killed before the film began, but the wrong take was used and no one noticed the mathematical error.)
Pleasingly, the film never comes out and says for certain either way. But on balance, the Director’s Cut suggests that Deckard is a replicant. This was the first version of Blade Runner I ever saw, on VHS in 1992 or so. Perhaps that means I’m biased, but because it erases the dreary voiceover and adds ambiguity via the daydream I’d say it’s even better than the original.
Ten attack ships on fire off the shoulder of Orion out of 10
Next time… Blade Runner: The Final Cut