“Blade Runner, 1982”

“Quite an experience to live in fear, isn’t it? That’s what it is to be a slave.”

Blade Runner, 1982 (Harrison Ford), The Ladd Company

I knew I had to end my Vintage Cable Box series with, what I regard to be, one of the greatest movies ever made. Nothing can prepare you for Blade Runner after a couple of years of the standard cable television fare. Occasionally, you had the big-budget spectacles, fine examples of genre film-making, Alfred Hitchcock and Stanley Kubrick, but Blade Runner was unique. I only vaguely remembered trailers and teasers running on broadcast television. I never saw a preview at the movies, nor did I even see the movie in theaters. Ridley Scott had made a name for himself as a first-notch filmmaker with The Duellists and Alien after paying his dues in production design and advertising. The script and story treatments for Blade Runner floated around for a couple of years while Scott was preparing an adaptation of Dune. The Dune project fell through (and would eventually be helmed by David Lynch), and Scott was eager to start working on Blade Runner, based on Philip K. Dick’s Do Androids Dream of Electric Sheep.

The year is 2019, and the place is Los Angeles. Our world in 2019 is a dystopian nightmare. Constant sheets of acid rain have destroyed the already-dilapidated metropolis and most humans have taken to life in “off-world colonies” (“The chance to begin again in a golden land of opportunity,” the advertisements proclaim). Replicants, initially considered a form of android but then ret-conned in 2017’s Blade Runner 2049 as “manufactured humans” have become a dangerous liability when confronted with their slave status and the built-in obsolescence of a four year life span. In an effort to control these replicants, developer Eldon Tyrell (Joe Turkel) implants memories in them, but this backfires when they inevitably crave life more than the humans who built them. Errant replicant Roy Batty (Rutger Hauer) leads a bunch of them to jump ship and return to Earth to meet their maker. Enter Rick Deckard (Harrison Ford), a replicant killer more commonly known as a “Blade Runner.”

Deckard is tasked with interviewing a beautiful woman, Tyrell’s assistant, named Rachael (Sean Young) who may or may not be a replicant. It seems Tyrell’s task is to either deceive authorities as to the identity of his replicants, or perhaps make his replicants believe they are human. It takes a while for Deckard to come to the conclusion that Rachael doesn’t know she’s a replicant. She saves his life when another replicant, the sub-intelligent Leon (Brion James) tries to kill him. He takes her back to his apartment and promises to keep her secret. Tyrell tells him she has no shut-off date; that she is, in effect, unique. Deckard retires the remaining replicants, but Batty proves to be a challenge. He taunts Deckard and leads him on a merry chase through the Bradbury Building. While Deckard is intent on finishing the job, Batty is fighting for his life, even as he knows his time is limited. Batty is incensed that Deckard has mercilessly killed his friends, and he tortures him for it. Ultimately, he spares Deckard’s life and perhaps Deckard has re-discovered his humanity.

Blade Runner was unfairly maligned by critics upon release in 1982, but over the years, the movie has attained an enormous cult following, culminating in the release of Blade Runner 2049 last year. In 1992, a “director’s cut” was released which removed the original film’s narration (considered by Scott to be tedious) and introduced a scene where Deckard dreams of a unicorn, making the reveal at the end of the movie (Deckard discovers a small origami unicorn in his hallway) ambiguous about Deckard’s humanity. Personally, I do not believe Deckard to be a replicant because, for me, it would make the ending of the movie and Batty’s sacrifice less meaningful. I would rather Deckard learn the lesson of his humanity, rather than believe him to be an amnesiac android. Blade Runner 2049 continues along this line of reasoning; perhaps what we value as humans is our capacity for understanding the gift of memory, and when our memories are manufactured, we will retain less of that value. Everything about this movie is perfect.

That about wraps it up for Vintage Cable Box. Again, I want to thank my readers. It’s been so much fun going back and revisiting and re-living these movies and that crazy time period, that time-line of what I saw and experienced and how it shaped me. Blade Runner just might be the most influential movie of the last 40 years, and it played constantly on cable television back in those days. Blade Runner 2049 manages to successfully evoke all of the best qualities about the original movie (and even improve upon certain aspects), which surprises me. Before I sign off, I have to thank a few people. Mark Jeacoma hosted these articles on his VHS Rewind! page. Andrew La Ganke suggested some great movies and found me a couple of hard-to-find titles. Geno Cuddy suggested Metropolis and provided a copy of the movie for me. Tony Verruso from the Vintage HBO Guides on Facebook was a staunch ally in dark times. Thanks for reading.

Our first cable box was a non-descript metal contraption with a rotary dial and unlimited potential (with no brand name – weird). We flipped it on, and the first thing we noticed was that the reception was crystal-clear; no ghosting, no snow, no fuzzy images. We had the premium package: HBO, Cinemax, The Movie Channel, MTV, Nickelodeon, CNN, The Disney Channel, and the local network affiliates. About $25-$30 a month. Each week (and sometimes twice a week!), “Vintage Cable Box” explores the wonderful world of premium Cable TV of the early eighties.


David and David discuss Blade Runner 2049 and the original Blade Runner starring Harrison Ford.

Produced by DAVID LAWLER

WATCHED by Alex Saltz

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© Frequent Wire, David Lawler and David B. Anderson copyright 2018 for all original vocal and audio content featuring David Anderson, David Lawler and selected guests each episode. This podcast, “David & David & Gene & Roger: A Siskel & Ebert Podcast” is not affiliated with Tribune Entertainment, the PBS Television Network, the estates of Roger Ebert and/or Gene Siskel, Warner Bros., Tandem Productions, The Blade Runner Partnership, Alcon Entertainment, Scott Free Productions, Bud Yorkin Productions, Sean Young, and Columbia Pictures. Any and all images, audio clips, and dialogue extracts are the property of their respective copyright owners. This blog and podcast was created for criticism, research, and is completely nonprofit, and should be considered Fair Use as stated in the Copyright Act of 1976, 17 U.S.C. section 107. It is not an official product, and it should not be sold nor bought; this is intended for private use, and any public broadcast is not recommended. All television, film, and music clips appear under Fair Use as well.

Vintage Cable Box: “Summer Lovers, 1982”

New VCB Logo

“When there is not enough space, there is pressure.”

summer lovers

Summer Lovers, 1982 (Daryl Hannah), Filmways 

Good-looking young couple Peter Gallagher and Daryl Hannah take a summer house on the Greek island Santorini.  Fresh from college graduation, I gather Gallagher is itching to settle down, but he becomes infatuated with a French archaeologist named Lina, on assignment at a nearby excavation site.  He follows her around like a puppy dog, and pretends not to spy on her, which is totally what he is doing, and she is aware of it.  These days, that would considered some form of harassment.  Meanwhile, Daryl, obviously bored, reads up on advanced (and ancient) sexual practices and techniques.  She speaks to Gallagher of her bondage fantasies.  Later that night, he agrees to be tied up, while she drops hot candle wax on him.

Peter accompanies Lina to a nude beach.  She strips down.  Uncomfortable, he also strips, but very quickly hides his shortcomings, as it were.  I wonder if these people ever worry about skin cancer.  Ultimately liberated by his nudity, he jumps into the water and swims.  He and Lina swim to a secluded cove and make love.  He confesses to Daryl, telling her he’s confused, doesn’t know what he wants to do with his life.  Daryl is pissed.  She takes off, and heads to a bar where she lets a kid hit on her.  Meanwhile, Gallagher hooks up with Lina again.  The kid takes Daryl back to his house, offers her drugs, which she declines.  She fends off his advances and leaves.  She can’t bring herself to make love to another man.  While Gallagher firmly believes he has an “open” relationship with Hannah, her feelings are hurt.

Daryl rushes off to confront Lina, but this other woman is sweet and accomodating, she can’t bring herself to hate her.  She tells Daryl she doesn’t want to destroy her relationship with Gallagher.  They start hanging out together, as an unusual threesome.  Gallagher becomes uncomfortable (yet again!) at the prospect of his girlfriend and his lover becoming friends.  This film could be easily re-edited as a comedy.  I can’t help but feel sorry for Lina, who appears to be caught in the middle of good old fashioned American Jealousy.  A sexually liberated, young French woman, Lina doesn’t immediately understand their problems, nor does she seem to care.  Daryl tells Peter she likes the girl.  Songs by Tina Turner play in montage pieces in a foreshadowing of the kind of cinema for which the eighties would become known.

One night, the three of them share wine, kisses, and finally sex.  With the initial tension out of the way, they’re finally having fun to the strains of “I’m So Excited”.  Regardless of the heavy adult content, this movie feels like innocent fun, a call-back to a different time where everything seemed to be permitted, and nothing was particularly sacred.  The use of popular songs (disco, new wave, and rock) of the time, and the patina of early MTV-style cinematography and editing contribute to a wonderful yet dated appeal.  Indeed, once Gallagher and Hannah, shed their inhibitions and get with Lina, it finally feels like they’re truly enjoying their vacation, which is weird.  The three spend an enormous amount of time nude in the film, and enjoying each other’s company.  This is another case (as with Blame It On Rio) of a mainstream movie that would never be made today, or if it were, it would be severely neutered for the sensibilities of today’s audiences.

summer lover publicity still

Director Randal Kleiser had previously shown his skill at telling stories involving young people with 1978’s mega-hit, Grease and 1980’s The Blue Lagoon.  In 1984, he would direct Grandview, U.S.A..  The film is beautifully shot, but the youthful cast seem lazy and uninterested, and spend more time taking their clothes off than putting them on.  In a movie filled floor-to-ceiling with unabashed nudity, there are no sex scenes.  While a very interesting character study of post-college frustration, boredom, and rebellion, I would not classify Summer Lovers as romance.  Perhaps a Graduate-like drama about a different generation; the children of the first boomers in an era of prosperity and promiscuity, doing things they will one day regret but always remember.

Our first cable box was a non-descript metal contraption with a rotary dial and unlimited potential (with no brand name – weird). We flipped it on, and the first thing we noticed was that the reception was crystal-clear; no ghosting, no snow, no fuzzy images. We had the premium package: HBO, Cinemax, The Movie Channel, MTV, Nickelodeon, CNN, The Disney Channel, and the local network affiliates. About $25-$30 a month.  Each week (and sometimes twice a week!), “Vintage Cable Box” explores the wonderful world of premium Cable TV of the early eighties.