The Fallen Angel: Analysis of the Final Scenes of Blade Runner
Fallen Angel: Analysis of the Final Scenes of Blade Runner.
Director Ridley Scott's Postmodern
reply to the modern consists of recognizing that the past, since it cannot
be destroyed, because it's destruction leads to silence, must be revisited.
So memories and emotions are meaningless without immortality. " Like tears
in the rain." Director Scott has a chilling story to tell, and there
is a complex web of allegory and meaning lurking in the background.
The final scene of Blade Runner reveal religious and philosophical parallels
and these are Milton's Paradise Lost and humanity itself. God is
questioned, mocked and finally destroyed. The use of tightly framed shots,
reaction shots, and mise en scene are used to highlite the allegoricall
relationship to Christianity.
Humanity itself is brought up for
definition in this film, as the Replicants are in many ways more human
than the " real humans" they are interacting with. The mise en scene
suggests a vision of the future that is not only a sprawling, technological
metropolis, but an empty soulless place. Through it's characters a sense
of quiet desperation. They are withdrawn almost, living in a mellow dream
which when disrupted, is painful and struggling. The characters seem random,
everyday people of the city, but united by the will to survive because
there is nothing else, nothing but fear. Death to the replicants is represented
by their own mortality and the outside embodiment of the Blade Runners;
stalkers. Roy and his followers: Pris, Zora and Leon are Milton's
fallen angels. They are created by Tyrell ( God ) and given a limited
life span. Roy a symbol of mankind is separated by his maker, when
he is sent off world ( expelled from heaven ). And like Lucifer,
is obessed with the same questions of mortality: How much time do we have?
Were are we going? Milton's battle takes place in heaven. Here it is fought
on earth. Roy cannot approach Tyrell directly. He uses an intermediary;
Sebastian ( Jesus Christ ) as his link to God. Bibical teachings
has it that God can only be approached through His Son, Jesus Christ.
Sebastian is the only true human. He is the composite of both man and replicant
as Jesus is a composite of God and man. Just as Jesus lived among men,
Sebastian lived among the replicants. The Bible syas the score between
Lucifer and Christ is yet to be settled, Ridley Scott decides to to take
advantage of the liberties afforded him by Postmodernism by deciding to
rewrite the future. With God and Christ dead, satan becomes almost
a Christ-like figure. Light and shadow is evoked to show Roy in a
new role as all knowing and all seeing. Extreme close-up of Roy's eye reveal
a person who is enlightened and empowered with knowledge. A
further significance to substaniate Roy's transition into Christ is that
he pierces his hand with a nail, a symbol of Christian crucifixian.
The final scenes were Roy becomes the hunter takes place high above
the city. The concerns of the people no longer permiate the scenes.
Dekkard is filmed from a high angle to suggest vulnerbality and a lack
of understanding, with his eye's closed as his clings to life; a keep of
blindness to the world around him. With the end near Roy Batty goes through
yet another change. This manifests in the fact that he prevents Dekkard
from falling to his death and becomes his savior. As they face each
other, the proxemics patterns change and for the first time Dekkard and
Batty are frame tightly together. Roy brings himself down to his
opponants level of understanding by sitting eye to eye. As they face each
other, Roy seemms to come to terms with his own mortality and the inevitability
of death. He ceases to struggle against what he cannot change, the hand
of death. By the time Roy dies, he has redeemed himself by following
in the footsteps of Christ. In order for God to forgive him, he spares
the life of the men trying to kill him. As he dies a high angle frames
a white dove flying free towards a clear sky. Finally his soul is purified.
Scott, Ridley, dir. Blade Runner.
With Ford and Rutger Hauer. The ladd Company. 1982