Blade Runner: The Final Cut (Blu-ray Review)

• Reviewed by: Bill Hunt
• Review Date: Mar 05, 2015
• Format: Blu-ray Disc
• 

Review

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Disc Four – Enhancement Archive

Video/Audio Ratings (DVD): B/B

Bonus Materials: A+

The lion’s share of the bonus material included with The Final Cut is found on Disc Four, which is a standard DVD disc in all versions of the release. It’s called the Enhancement Archive, and its material is divided into three categories – Inception, Fabrication and Longevity (there’s also an Access option that will allow you to play all the featurettes in order).

The Inception portion of the disc opens with the 14-minute The Electric Dreamer: Remembering Philip K. Dick featurette. This is a particularly interesting piece, in that it examines the life and work of Dick from the perspective of his fellow science-fiction writers, friends and admirers, not to mention various members of his family. It includes many anecdotes, photos and archival interview clips of Dick himself, as well discussion of his other novels. Fans of the author will really appreciate this, I think.

The 15-minute Sacrificial Sheep: The Novel vs. The Film featurette goes a step further in examining Dick’s original novel, Do Androids Dream of Electric Sheep?, and the differences between the novel and the film adaptation. Blade Runner expert Paul M. Sammon, author of the excellent book, Future Noir: The Making of Blade Runner, weighs in frequently here, as do the film’s screenwriters and others.

Inception also includes a cool feature called Philip K. Dick: The Blade Runner Interviews. These are audio recordings of phone interviews that Sammon conducted with Dick between 1980 and 1982, the last among them done just shortly before his death in March of ‘82. The quality is only fair, but the content is fascinating. Sammon asks many questions about the novel, Dick’s experiences with Hollywood and his feelings about Blade Runner. What’s most interesting here, is that it’s clear that Dick was extremely apprehensive about the adaptation at first, but became increasingly pleased as he began to see what Ridley Scott and his production team were doing with it. Dick eventually describes his feelings about the bits of Blade Runner footage he’d seen, and how pleased with it he was. He also talks about Harrison Ford’s performance as Deckard, and the confidence he has that Ford will get the character right. This is just great stuff.

The disc’s second major section, Fabrication, starts with Signs of the Times: Graphic Design. It’s a 14-minute featurette that focuses on the work of the production illustrator and other artists involved in the film. You’ll get to see in detail tons of sketches, drawings and photographs of the various logos, props, signs, magazine covers and other objects that help make the world of Blade Runner so detailed and believable, and you’ll learn how they were created. You’ll even see stuff that didn’t appear in the actual movie. Ever wanted to know what on-street parking costs in 2019 Los Angeles? Look no further.

The 21-minute Fashion Forward: Wardrobe & Styling featurette looks at the film’s costumes and multi-cultural creative aesthetic. Ridley Scott, costume designer Michael Kaplan, make-up artist Marvin G. Westmore and others discuss the look they were trying to achieve with the wardrobe and how they accomplished it. Included throughout are dozens of costume design sketches, test photos and other images. Harrison Ford even talks about how he came up with Deckard’s haircut. No kidding.

Next, Blade Runner casting director Mike Fenton introduces a 9-minute piece entitled Screen Tests: Rachel & Pris. Here we get to see original audition footage of Nina Axelrod and Stacey Nelkin, neither of whom actually appeared in the final film, and listen to them recount their brushes with the production. It’s a fascinating look at what might have been.

Of special note on this disc is The Light That Burns: Remembering Jordan Cronenweth featurette, which is some 20 minutes in length. This is just what it sounds like – various friends, admirers, protégés and colleagues discuss the work and legacy of Blade Runner’s legendary director of photography, including many of those who worked with him on the film. Among them are his son, Jeff, who followed in his father’s footsteps and is now a cinematographer himself (his work includes David Fincher’s Fight Club). The piece is a moving tribute.

By far the best special feature on Disc Four – and one of the true gems in this release, period – are the Deleted and Alternate Scenes. Some 48-minutes of surplus film footage (yes, including the lost Holden hospital scenes) have been compiled into what is essentially a sixth version of the film. This material was culled from hundreds of rolls of original camera negative, and nearly all of it has never been seen before by fans. It’s been edited together chronologically, to create an encapsulated version of the story. You can either access the scenes individually from the menus, or play them all in order (“play all” is definitely the preferred viewing option).

It starts with a completely new opening credits sequence, featuring a previously unseen special effects shot of the 2019 L.A. cityscape. Then you get sequences you’ve seen before... but they’re all compiled using alternate takes, different camera angles and other completely unused footage. There are also a number of true deleted scenes, including a few that no one outside the production even knew existed before. All of this is set to music from the film and newly-looped sound effects, as well as Harrison Ford’s voiceover narration. But this narration is actually different than what was in the original theatrical version of the film. You really won’t believe how different – there are alternate lines, new dialogue. It’s a truly different take on the voiceover.

Let me give you just a couple examples of some of the things you’re going to see: Turns out Deckard had a wife, who now lives in one of the off-world colonies – you see a photo of her and Deckard together (it’s worth noting that they’re standing on a porch that’s very similar to the one in Rachel’s photograph of herself with her mother – consider the implications of that). There’s also a brief scene, after Batty has killed Tyrell, where he gets back into the elevator and he’s shaking – he’s clearly disturbed at what he’s just done. The elevator announces the floor in a computerized female voice, and Batty looks up at the speaker and says “Mom?” in this sort of child-like daze. Rutger Hauer’s performance is just perfect. There’s even two alternate endings, in which Deckard and Rachel have dialogue while driving off in Deckard’s car. And this is all just scratching the surface. I’m telling you, this stuff is absolutely amazing. If you think you know everything there is to know about Blade Runner, you’re in for a real shock. Keep in mind, every bit of this footage was shot by Ridley Scott in his prime, so it’s just gorgeous. It’s even presented in anamorphic widescreen. My head is still spinning over it all.

The disc’s third section, Longevity, offers material related to the promotion of the film over the years. It starts with a trio of vintage promotional featurettes from 1982, including On the Set (14 minutes), Convention Reel (13 minutes) and Behind-the-Scenes Outtakes (9 minutes). Shot on film, they’re in so-so shape, but they’ve all got a very retro feel and they’re cool to see. The Convention Reel is particularly interesting, as you’ll see Syd Mead and Douglas Trumbull talking about the design and workings of the Spinner vehicles, among other things. I also love On the Set’s narrator: “This is the city...” It’s got a very Dragnet bent that’s pretty amusing. The Outtakes are just odd little bits of footage shot on the set during the production. It’s neat stuff to see.

Next up are a series of six trailers and TV spots for the film, including the 1981 teaser trailer, the 1982 theatrical trailer, a 1982 TV spot, the 1992 Director’s Cut trailer, the 2007 Dangerous Days trailer and the 2007 Final Cut trailer.

Wrapping things up are a final trio of additional, newly-created featurettes. Promoting Dystopia: Rendering the Poster Art runs 10 minutes, and features interviews with artists John Alvin and Drew Struzan, who discuss their work and the philosophy involved in creating the film’s signature one-sheets – both the original design and the new one for the 2007 release. You’ll see concept sketches and other unseen material, and get a look at the posters for the film from around the world.

The 10-minute Deck-A-Rep: The True Nature of Rick Deckard featurette examines one of the key questions of the film. Various fans, as well as its cast and crew members, weigh in with their opinions. The “unicorn” scene is discussed in depth, as are the various clues offered in the different versions of the film. Ridley Scott reveals, once and for all, what he intended people to think... but of course, not everyone who worked on the film agrees, including writer Hampton Fancher. It’s one of the most interesting featurettes on the disc.

Finally, Nexus Generation: Fans & Filmmakers is a 22-minute piece that offers more interviews with many of the same directors seen in Dangerous Days, as well as additional filmmakers, the editors of Heavy Metal and Rue Morgue, and other longtime fans. Each talks about the impact the film had on them. Frank Darabont shows off his replica of the Spinner (lucky bastard!), director Steve Loter gives a tour of his collection of memorabilia from the film, etc. Of all the extras in the set, this one is probably the least interesting to film fans, but there’s definitely geek value here. Personally, I would rather have seen a featurette dedicated to the Spinner (which is covered somewhat in Dangerous Days) or Deckard’s blaster instead, but that’s a small criticism.

Again, all of the video material is presented in good-looking anamorphic widescreen, except the TV spots and the vintage featurettes, which are full frame and of variable quality due to their age. Audio is offered in English Dolby Digital 2.0 only. There are no subtitles available. The menus are themed identically to those on earlier discs in this set.

The only thing that’s not included on this disc that was originally advertised in Warner’s press release are the various image galleries (including a Do Androids Dream of Electric Sheep Cover Gallery, The Art of Blade Runner, a Unit Photography Gallery and a Marketing & Merchandise Gallery). These unfortunately had to be dropped because of disc space concerns. However, I’m told that there’s talk that these may be made available online at Warner’s official website for the release at some point in the future. [Editor’s Note: These galleries were added to Warmer’s 2013 Blu-ray re-release of Blade Runner: The Final Cut in a 30th Anniversary Collector’s Edition. More on this in a minute.] I also wish that Ridley Scott’s 1984-inspired Apple Macintosh commercial was here, just for fun (sadly, sources say that Apple wouldn’t allow it). Like I said before, these are small criticisms. What you get here is all pretty spectacular, as you’ll see for yourself when you get your hands on this set.

As if all that wasn’t enough, there’s still one disc left. And trust me, it’s a good one...

 

Disc Five – Workprint

Film Ratings: B+

Video/Audio Ratings (Blu-ray Disc): C-/C-

Bonus Material: A

Here it is... the icing on the cake. The most deluxe versions of The Final Cut release includes no less than the original, fabled and long sought-after “workprint” version of Blade Runner, which had been originally created for the Dallas and Denver test screenings of the film back in 1982. This is the version that caused such a stir among unsuspecting fans who were lucky enough to see it in 70mm at the Fairfax Theater in L.A. back in 1990 (this print was shown accidentally, but proved so popular with fans that limited screenings were also later held at UCLA, at the NuArt in L.A. and at the Castro in San Francisco). The ironic thing about the workprint, is that it has nowhere near the impact today that it did back when it was first accidentally screened. In fact, if you’ve seen The Director’s Cut or The Final Cut, it’s not so very different. There are alternate opening credits – very simple ones, as you see below. There are a few different shots used here and there, along with bits of additional street/atmosphere footage. There’s no opening “eye” shot or unicorn in this cut, nor is there a tacked-on, upbeat ending. The film closes simply on Deckard entering the elevator with Rachel, followed the text: THE END. There are no other closing credits – the music just plays out over black. It’s extremely cool to see this, but you sort of have to imagine what it must have been like to see this back in the day in a theater with an audience of unsuspecting, diehard fans.

As with the other movie discs in this set, the Blu-ray Disc version of The Final Cut presents the workprint in full high-definition video. The footage is very dark and grainy, with only decent contrast, color and detail. The live-action material tends to be of better quality, but the effects footage is particularly rough looking. The added resolution of HD makes the print’s flaws more apparent. Despite all that, it’s amazing to finally have this version on disc, and to be able to actually see it after so many years of only hearing about it. Given that the workprint is a completely unique element, the quality simply is what it is. The audio on the Blu-ray is Dolby Digital 5.1, but there’s little play in the surrounds other than for atmosphere. It’s a very front-biased mix. The BD version features pop-up menus.

In terms of bonus material, the workprint offers another video introduction by director Ridley Scott. It also features running audio commentary by Paul Sammon, who is widely considered to be the ultimate historian and expert on all things related to Blade Runner. Sammon offers tons interesting details, trivia and other minutia related to the production, and in particular notes the differences in the workprint to all the other versions.

The only other bonus item on Disc Five, which also happens to be the final extra in the entire set, is a 30-minute featurette entitled All Our Variant Futures: From Workprint to Final Cut. This examines all the different versions of the film, and also offers an in-depth look at the work that went into making The Final Cut, and how the project came about. Producer Charles de Lauzirika and others take you behind-the-scenes, showing you such things as the warehouse of all the original camera negative (which, shockingly, had all been marked as junk back in 1988 – fortunately, it never actually got destroyed), the recent FX shoots with Joanna Cassidy and Ben Ford from earlier this year, the various digital tweaks and more.

All in all, Disc Five is the perfect finale to this release. What better way to close out the ultimate fan experience of Blade Runner than by viewing the rarest, most-coveted and seldom-seen version of the film itself?

Now let’s talk about all the different versions of The Final Cut available on Blu-ray and look at the packaging...

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