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OK, I am ready for the hate.
As much as I love Blade Runner, the "Date Rape" scene just doesn't age well for me. I voluntarily delved into a deep discussion on Reddit about the NEED for this scene, with advocates arguing that the scene is needed to show an aspect Deckards growth in regards how he treats replicants, how HE fundamentally sees THEM.
I initially agreed with these overall points - about Deckard's identity and that his treatment of Rachael allows him to "develop".
And then I was informed about the original script draft:
As I began to rewatch the movie with the focus PURELY on the experience of Rachael... She seems trapped. Think about it. She had nowhere to go, she knows she will be endlessly hunted, she wasn't allowed to leave, after being tossed against the wall, she was told she must repeat the words of the one guy who knows she really is, the one she knows is breaking rules by NOT killing her, and she doesn't want to piss HIM off. The rest of the world wants her dead. He is still her only chance. Hell, he reminds her of all this quite blatantly.
For instance, he tells her she must repeat his words, after keeping her from leaving, after telling her she will always be on the run from others like her. She does not have many options. Then, the lines they say at then end are parallel of his earlier need for her to parrot back his words, like she is conditioned, like she understands the rules. She seems more trapped as I watch more, in many ways he is exploiting her lack of options to his benefit. As much as we want to say he is bad, he is also COOL in this movie, and as much as people want to say "That is not an excuse for assault... it’s an exploration for why it happens," this movie does not question whether is SHOULD happen at all, it acts as an excuse for his actions.
I bring all of this up because of this whole "Deckard-centric" idea of a "bad Deckard." I agree many that that the whole point of the film is make audiences empathize with the Replicants, and I argue that the more the audience views Deckard in a "bad guy" view, the less the audience has to identify with the way the replicants are treated by society as a whole. I completely agree with you that the Replicants should be sympathized with, that they are a metaphor for a marginalized society. But by viewing Deckard as a bad guy, and making him the focus of the movie, it allows the audience to say "hey, its just bad guys that hurt these replicants, not the society as a whole." However, from the replicants POV, it's society as a whole that is the problem, not just Deckard. The less we focus on Deckard as an outlier society and more of an avatar of it, the more the plight of the replicants is made aware (especially if the "love" aspect is removed). The development of Rachael through this whole thing, and her development of not knowing who she is and who she can trust is actually pretty deep, while not completely obvious.
If we change one thing, giving Rachael more autonomy in wanting to stay near the protection of Deckard as opposed being trapped, her character arc becomes much more empowering. They don't "fall in love," he just begins caring for and protecting her.
So this edit addresses the whole perspective of a "bad Deckard." I agree many that that the whole point of the film is make audiences empathize with the Replicants. I further argue that the more the audience views Deckard in a "bad guy" view, the less the audience has to identify with the way the replicants are treated by society as a whole.
Here is the new scene depicting Rachael's autonomy. Unused Vangelis tracks used in place of "sexy saxophone" track.
Basically we turn Racheal letting her hair down into her transformation to acceptance of her new reality as a non-human, and we cut before Deckard goes too far, leaving the rest as a implied or a mystery until he rushes home at the end to check on her.
BONUS: I also delved in deep to all the different official BR versions and deleted scenes, so this clip also has my repurposed Bryant and Gaff discussion. Hopefully this shows that Gaff speaks English to those he respects - until he doesn't, which would imply more resect for Deckard at the end when he suddenly speaks perfect English. Now its not quite so "suddenly."
As much as I love Blade Runner, the "Date Rape" scene just doesn't age well for me. I voluntarily delved into a deep discussion on Reddit about the NEED for this scene, with advocates arguing that the scene is needed to show an aspect Deckards growth in regards how he treats replicants, how HE fundamentally sees THEM.
- I would argue that the scene serves as an important character moment for Deckard, and that it’s absence from the film would have a negative impact on the development of Deckard’s character, which I would argue is more important than the plot. To paraphrase an excellent analysis of Blade Runner: “The issue of identity is Deckard’s central struggle in the film. His inner conflict comes from the gradual breakdown of the only identity he’s ever had as a Blade Runner. When Deckard - who has no family or relation to speak of - tells Rachael that she is indeed a Replicant - in effect destroying her identity - we can see that his self-definition begins to turn on him. He starts to feel her pain as his own and he begins to loath who he is. He compensates for his self-hatred by drinking. His aggressive sexual encounter with Rachael later in the film is a compensation; a search for a new identity in love... He forces her to say “kiss me” because he needs that reciprocation for it to be real. That is not an excuse for assault. It’s an exploration for why it happens.” Furthermore, I would argue that Deckard isn’t necessarily meant to be the most likable protagonist, and that the whole point of the film is make audiences empathize with the Replicants, who are depicted as being more human than the actual humans. So if you look at the film from that perspective, then I would argue that the scene you are referring to between Deckard and Rachael is fitting given Deckard’s character and how he is presented to us.
I initially agreed with these overall points - about Deckard's identity and that his treatment of Rachael allows him to "develop".
And then I was informed about the original script draft:
- July 24, 1980 draft:
...They get in Deckard's car and drive out to the countryside, while Deckard's voiceover talks about how they had a lovely day and he taught her a song about monkeys and elephants. And then Deckard takes her out in the snow and shoots her in the head. If he hadn't done it himself, they would have done it, his voice-over explains. But now Deckard can't go back to the city, and he's no longer sure what's really real. Maybe nothing is. He drives off. The end.
As I began to rewatch the movie with the focus PURELY on the experience of Rachael... She seems trapped. Think about it. She had nowhere to go, she knows she will be endlessly hunted, she wasn't allowed to leave, after being tossed against the wall, she was told she must repeat the words of the one guy who knows she really is, the one she knows is breaking rules by NOT killing her, and she doesn't want to piss HIM off. The rest of the world wants her dead. He is still her only chance. Hell, he reminds her of all this quite blatantly.
For instance, he tells her she must repeat his words, after keeping her from leaving, after telling her she will always be on the run from others like her. She does not have many options. Then, the lines they say at then end are parallel of his earlier need for her to parrot back his words, like she is conditioned, like she understands the rules. She seems more trapped as I watch more, in many ways he is exploiting her lack of options to his benefit. As much as we want to say he is bad, he is also COOL in this movie, and as much as people want to say "That is not an excuse for assault... it’s an exploration for why it happens," this movie does not question whether is SHOULD happen at all, it acts as an excuse for his actions.
I bring all of this up because of this whole "Deckard-centric" idea of a "bad Deckard." I agree many that that the whole point of the film is make audiences empathize with the Replicants, and I argue that the more the audience views Deckard in a "bad guy" view, the less the audience has to identify with the way the replicants are treated by society as a whole. I completely agree with you that the Replicants should be sympathized with, that they are a metaphor for a marginalized society. But by viewing Deckard as a bad guy, and making him the focus of the movie, it allows the audience to say "hey, its just bad guys that hurt these replicants, not the society as a whole." However, from the replicants POV, it's society as a whole that is the problem, not just Deckard. The less we focus on Deckard as an outlier society and more of an avatar of it, the more the plight of the replicants is made aware (especially if the "love" aspect is removed). The development of Rachael through this whole thing, and her development of not knowing who she is and who she can trust is actually pretty deep, while not completely obvious.
If we change one thing, giving Rachael more autonomy in wanting to stay near the protection of Deckard as opposed being trapped, her character arc becomes much more empowering. They don't "fall in love," he just begins caring for and protecting her.
So this edit addresses the whole perspective of a "bad Deckard." I agree many that that the whole point of the film is make audiences empathize with the Replicants. I further argue that the more the audience views Deckard in a "bad guy" view, the less the audience has to identify with the way the replicants are treated by society as a whole.
Here is the new scene depicting Rachael's autonomy. Unused Vangelis tracks used in place of "sexy saxophone" track.
BONUS: I also delved in deep to all the different official BR versions and deleted scenes, so this clip also has my repurposed Bryant and Gaff discussion. Hopefully this shows that Gaff speaks English to those he respects - until he doesn't, which would imply more resect for Deckard at the end when he suddenly speaks perfect English. Now its not quite so "suddenly."
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that's very flattering! I wouldn't call myself a pro either, since fanediting can't be a profession - we're all amateurs here 
