Text by: José Manuel Serrano Esparza

Directed by Ridley Scott and premiered for the first time in 1982, Blade Runner takes place in November of the year 2019, in Los Angeles, a city marked by gigantic technological breakthroughs and a tremendous pollution.
Based on the novel īDo Androids Dream of Electric Sheep?ī by Philip K. Dick, īBlade Runnerī contributes a plot in which the so called īreplicantsī, robots designed by means of genetic engineering as a slave manpower out of the world, are absolutely forbidden on Earth.
Notwithstanding, a few of them have infiltrated into L.A and the retired policeman Decker (Harrison Ford) is recruited to eliminate them before they can cause any damage.
But the robots arenīt mere metal structures, but amazing human looking androids that are unnoticed amongst the crowd.
The action develops in an endless urban landscape, congested with cars and hostile people, in which it is always raining.
Blade Runner created a new genre, different to the old space films which began to be abundant since Battle Star Gallactica and Star Wars.
Blade Runner focuses on the philosophy and meaning of life, more than on the strength and the question of who will finally prevail.
In the movie, there isnīt a clear line between the good and the evil and manifold living doubts are raised that can make spring up in the spectators the anxiety of whether they are really free persons themselves with decision capacity or human beings continuously slaved by the technological breakthroughs and akin to the film androids.
Blade Runner makes think at all moments of events which havenīt taken place yet but will happen in a foreseeable future and the film has to be seen several times to realize its vast global meaning and the visionary character in a short time of a future with a huge almost autist risk of lack of communication, a lot of diverse and selfish vital microcosmos, with a context dominated by capital and technology, a widespread and dangerous subjugation of the human species to the machines and the subsequent reduction of the thinking ability in men.
Itīs a rather quaint film, which was ahead of its time and is full of subtle nuances and messages, its special effects being excellent, better than many of the current images created by very overwhelmingly expensive and sophisticated computers.

Blade Runner is successful in capturing the spectatorīs attention at every moment and it enhances to the utmost the credibility of what he is watching, through extraordinary settings, menacing and saturated with a very special atmosphere.
Decker is a cynic in a lethargic enough world and has been given orders to eliminate the replicants, the only characters actually seeming īto want more lifeī in a decadent, mediocre and alienated world.
The replicants try to change their destiny, which has been preprogrammed for a 5 years life span and modifying this becomes into their most important goal. Thatīs why when Roy (the main replicant) finally admits that he canīt attain it, he appears to be more human than many human beings.
It is impressive the music by Vangelis, specially the fifth theme (īMain Titleī) of the CD with the original soundtrack of the film and fabulous the artistic direction, that submerges us into a depressive, gloomy, rainy and par excellence desolate city of Los Angeles.
But on seeing the heroic fight of the superhuman androids against an inhuman system, Decker falls in love with a beautiful robot (Sean Young), a very advanced unit, equipped with such real implanted memories that she doesnīt even know that sheīs a replicant until Decker puts her to the test.
Frequently, Sean Young disappears from the scene for long time lapses and in other ones, Harrison Ford sits peeved watching photographs, which slows the action.
From the middle of the film, the sophisticated, huge and almost albinic Rutger Hauer takes a leading part in the plot, because after destroying his creator (a mad and unscrupulous genius) he will face Harrison Ford, revealing himself so intriguing, charismatic and reflexive that sometimes the spectator takes side more for him than in favour of the impassive Harrison Ford.
The movie must be watched several times to be able to properly appreciate and understand it.

The characters seem to be chosen at random, but little by little we do understand that they share both the fear and the wish to survive as a principal union bond.
The survival is a hard task in the middle of such decadence, but it is an aspect of paramount significance: the replicants arenīt human but love life and hold on to it with all their strength. They arenīt happy with the role of supergifted androids of programmed life, immersed into the tragedy implied by their inability to have a good grasp of their own mortality and loss of experiences, on the other hand a dynamics common to human being.
So, Blade Runner features metaphysical perspectives on reality and human dependencies and besides, it has the particular peculiarity of offering at the same time characteristics of science-fiction thriller and classic American noir cinema.
Likewise, the film lets subtly guess the probable attempts that will take place in future to capitalize in a mercantilist way, with intention to get profit and power, the great breakthroughs in the discovery of the ADN human chain, with a view to the creation (with very well paid scientists) by means of genetic engineering of biologically programmed slaves or soldiers virtually unbeatable in wars.
Blade Runner may indicate with a lot of accuracy the future towards our world is marching on.
It had a 30 million $ budget.
Finally, it must be underscored that in 1992, was revealed all the original footage by Ridley Scott, without Harrison Fordīs background voice and the final flight sequence.

Technical Card: Blade Runner

114 minutes. USA.
Director: Ridley Scott.
Producer: Michael Deeley.
Screen Play: Hampton Fancher, David Peoples.
Photography: Jordan Cronenweth.
Editors: Terry Rawlings, Marsha Nakashima.
Music: Vangelis.
Artistic Direction: Lawrence G. Paul.
Casting: Harrison Ford, Rutger Hauer, Sean Young, Edward James Olmos, M. Emmet. Walsh, Daryl Hannah.
A Warner/Ladd Production.

Đ Copyright Text by: José Manuel Serrano Esparza