Blade Runner 2049: Luke-Warm Take
These days, seems like there’s a check-list whenever a new sci-fi flick comes out, a formula for articles, think-pieces, and commentary to be made, ritualistically whipping up the internet into a self-righteous froth. These last few days have been more-or-less the same.
Caught the new Blade Runner earlier this week, at the local Vue. Not our usual cinéma de choix, but they’ve implemented a pretty hefty reduction on Monday ticket prices – perhaps they’re feeling the financial pinch.
I’m not a Dickhead (though I’m certainly guilty of being a dickhead…), so I didn’t go into this overly invested. Well, that’s not precisely true – I was concerned by the cutting of some of the early trailers, which seemed to be action-heavy in a way that didn’t sync with my memories of the original film (it’s been about a decade since I saw it last – couldn’t tell you which version, though I recall overdubs – and I’ve not read any Philip K. of novel length) which seemed a shame. I allayed my fears remembering that it was Villeneuve directing (which was a leap of faith in itself – I’ve not yet seen Arrival) and was reassured that the atmos, at least, would be on point. I wasn’t disappointed.
More on the ritualistic criticisms, though – as per usual, there have been accusations of vacuousness (untrue) misogyny (kinda true) and racial insensitivity (pretty accurate). Maybe it’s because I’m not paying as close attention, but I don’t really get the sense that other genres, outside of the speculative like sci-fi or fantasy, get the same sort of treatment. This is not to say there are no criticisms lobbed at your latest Disney effort, or the most recent Scandi-noir police procedural or what have you – when these films are egregiously out of step they are rightly upbraided – but they don’t seem to have the same rubric of criticism applied. Perhaps it’s because, as speculative fiction, sci fi looks at the possibilities for the future, and a future that leaves out large chunks of the present is both morally and structurally myopic. Perhaps it’s because the audience of this genre overlaps significantly with the Tumblr crowd of rambunctious moral arbiters. Who’s to say?
I, white cis het male that I am, feel that the film for the most part avoids accusations of misogyny. It certainly portrays many of its female characters in an overtly-sexualised manner, but, insofar as I can tell, this does not a misogynistic film make—the portrayal of misogyny is not misogyny tout court. Importantly, and this is where the film stumbles on other criticisms, the portrayal of women in Blade Runner 2049 is in keeping with that of the original Blade Runner, insofar as the society’s approach to gender is concerned. The world of the original was a grossly sexist place, and so too is that of the sequel. As much as the Blade Runner-verse happens in a time-line adjacent to our own real-world one, it’s probably a faithful representation of what would happen to our society in a hyper-commercialised future – hell, it’s probably what we’re headed towards at the moment. It’s not as if the multi-story holographic adverts that dance above the street-level replicant manifestations of the product don’t have real-world analogues. This is just a dialled-up version of what we already have, with the pop-princess du jour filling our various media with a commodified sexuality, reinforcing and guiding the trends of society’s actual sex workers, the logics of pornography stamped into us day-in, day-out.
Blade Runner 2049 doesn’t revel in its portrayal of misogyny. It’s not lurid, it’s not exploitative. It definitely has characters that use women, or woman-analogues, in a less-than-positive light (the protagonist foremost amongst them), and shows a society that, much like our own, is pervaded by the otiose relish of the female form, but to do otherwise would be dishonest to the story it is telling. A protagonist who possesses all the right views on women, whilst also on the arc that the story requires of him, would jar. A society that is as steeped in a runaway capitalism as that of Blade Runner but also respects women is a contradiction in terms – sexism, just as racism, is concomitant with capitalism; they can’t be pulled apart. Hell, this is a society that is literally built on slaves – it’s the whole thrust of the story – why would you expect it to have anything but trash gender politics? But, even in showing all this, the film doesn’t become complicit in it. While it doesn’t go so far as to damn what it shows – it’s more harsh on the hollowness of these relationships than the power imbalance inherent – it doesn’t actively enjoy it, either. It has ample opportunity to: the “love scene” between the protagonist and his “partner” could have been much more sordid, aimed entirely at titillation. Instead, it is used to underline the core concerns of the series, that of the nature of personhood and the ambiguities, the uncanniness, of possible human-adjacent realities.
The more accurate complaint revolves around non-white people in the film, or, rather, the lack-thereof. The setting of Blade Runner 2049, much like its predecessor, is Los Angeles and its environs. Picking up on some of the now-standard cyberpunk tropes, this Los Angeles is doused in Asian culture, from signage to the sartorial to gustatory. However, there are few, if any, actual Asian people in evidence. I’ve seen some clever epicycles deployed to explain this, the best yet being a comparison with the diffusion of American culture in our own world. In many countries around the world, so the argument goes, be they European, Asian, or, increasingly, African, you will find American businesses and products, replete with English signage, despite the absence of Americans, on the ground, perpetuating and guiding the effort. This is a product of the success of American cultural imperialism, the victory of American propaganda world-wide, as it portrays itself as something desirable, as synonymous with “success.” It was just this that led to the cyberpunk trope in the first place – during the Eighties, when so much of this stuff was codified, Japan was economically bullish, and the future, so it seemed, belonged to them. Thus, anything set in the near future looked like a fusion of Anglo and Japanese culture, with the hegemony of Japan redesigning the way American streets looked, the language that was spoken there, the food that was consumed.
All good, but the original Blade Runner, unlike its sequel, had plenty of Asian people on the streets themselves, as well as the signage and culture and what all. Where have they gone in the intervening 30 years? There’s been speculation that the Asian countries could have “gotten their shit together” and gone off-world – the existence of the extra-terrestrial colonies is a feature that looms large over both the original and the present Blade Runner – but this can’t account for every individual, and certainly doesn’t make sense of the real-world demographics of LA. The original film had a key character in Gaff, played by Edward James Olmos, who drew from his own mixed background to try and give a poly-racial feel to the film. Gaff is relegated to a few lines in a single scene in 2049, and I can’t recall any other Hispanic character – with dialogue or without – throughout the film. Evidently, much of the shooting was done in Hungary, so I can understand the logistical difficulties in importing the right mix of extras simply for atmosphere. Even so, the absence of nearly any brown or black faces in such a melting pot as Los Angeles is a bit stark.
All in all, I think Blade Runner 2049 comes through bruised but whole. Not a perfect film, but this isn’t a Bergman we’re talking about. The cinematography is beautiful, with very tasteful CGI. The pacing is, contrary to my original concerns, true to the original, and this, coupled with the seemingly-trademark Villeneuve soundscape, allows for a sustained meditation on what it means to be human. Performances were neither stilted nor overdrawn to camp. Could the story have been more nuanced? Were all angles satisfactorily explored? No. Does the plethora of criticism find purchase? Yes. As ever with these things, your best bet is to take a look yourself, and make your own opinions. Especially if you can grab some steeply-discounted Monday night tix.
Posted on October 13, 2017, in Reviews and tagged Blade Runner 2049, Capitalism, Cyberpunk, Philip K. Dick, Racism, Review, Science Fiction, Sexism, Speculative Fiction. Bookmark the permalink. 1 Comment.