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Blade Runner, Ridley Scott's noirish thriller from 1982, remains a flawed yet utterly fascinating masterwork.
It is back in theatres in a revised, refined form, The Final Cut. This is a prelude to the comprehensive DVD box set, due Dec. 18 with every version of the film ever made.
That includes the original theatrical release with Harrison Ford's infamous clunky narration as replicant hunter Rick Deckard, plus the 1992 Director's Cut that eliminated the narration, and this "new" revision, which actually was undertaken seven years ago.
Legal wrangling over ownership of the film delayed its release.
It was worth waiting for.
The Final Cut is the true director's cut. It was personally supervised by Scott, unlike the 1992 effort.
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The Final Cut of this visionary science-fiction film reinforces all the old strengths, diminishes some of the old weaknesses, and adds fresh fuel for the fires of debate that have raged for 25 years.
In addition to a restoration of picture and sound, the changes this time are subtle, yet significant. The narration is still missing, of course. Nobody wanted that back. There are several scene trims, a few additions and even brief re-shoots which are inserted.
Most importantly, Ford/Deckard's unicorn dream is now presented in its entirety. Combined with the origami unicorn Edward James Olmos leaves in the apartment hallway, the debate over Deckard's true state of being -- human or replicant -- is tightened by several turns of the screw.
Also restored are violent fight scenes censored in North America in 1982 (although shown abroad).
For example, you see Daryl Hannah, as gymnastic replicant Pris, hook her fingers into Ford's nose when trying to kill him.
Another noticeable change involves Joanna Cassidy as replicant Zhora. Her death scene was always annoying because it was so obvious when a stunt double took over. Scott reshot it with Cassidy back in the role and doing more of the sequence (Cassidy marvelled she could still wriggle into the sexy costume).
There are several other minor revisions, such as getting Ford/Deckard's dialogue to synch with his mouth in the scene with the snake merchant. Ford's son Ben was filmed lip-synching the words and his mouth was digitally placed over his father's.
Taken altogether, this is as good as it gets and should be the "final" word on Scott's version of the late author Philip K. Dick's future-shock vision. Dick died during the production of Blade Runner, which was based on his novel, Do Androids Dream of Electric Sheep?
You have to think he would be pleased today.
The revisions are fascinating not only for their own sake but because they inspired the re-release.
Seeing it again in this pristine state, in theatres, enhances the film's status as one of the most influential sci-fi films ever.
Visually, it was a giant in its genre, changing how a generation of young filmmakers viewed and would present the world. Working with Douglas Trumbull, Scott fixed images of the near future as a mixture of retro-decay and fleeting, futuristic potential controlled by mega-rich god-kings (it is no accident that Eldon Tyrell's corporate empire is housed in a modern version of an Egyptian pyramid).
Los Angeles, circa 2019, remains eye-popping despite old-school effects (perhaps they appeal because they are not digitally slick). The inner city is an eco-disaster, drenched in rain. A polyglot society of have-nots jostle in the streets while people such as Tyrell remain isolated. America's class and racial divides deepen. This is a lavishly detailed, dystopian canvas.
Character development remains superficial, however. Ford is excellent at the moody stuff and Hauer even better as replicant Roy, but their deeper moments are brief. Pretty Sean Young is also pretty dull as Rachael, a femme fatale without danger, spunk or even a human soul. Other characters are physical types.
Yet, despite these weaknesses, Blade Runner is still an existential exploration of what it means to be truly, madly, deeply human.
In subtle yet powerful ways, The Final Cut brings that home as never before.
(This film is rated 14-A)