After the emotional encounter “Roy” has with the dead “Pris”, Ridley Scott uses a dramatic drum roll. Instantly the viewer is drawn into the scene as the music represents “Roy’s” realisation that “Deckard” is to blame and that he is there. It indirectly suggests that “Deckard” has made a noise that has caught “Roy’s” attention. The non-diegesic sound also could symbolise the start of the chase, like the horns at the start of a foxhunt. This creates sympathy for “Roy” because he is seen as a hunted, endangered and trapped animal.
During the chase scene “Roy” dislocates “Deckard’s” fingers and the viewer hears a very disturbing crack as they are yanked out of place. Here in contrast to the previous example the diegesic soundtrack indirectly creates sympathy for “Roy” as it gives the strong sense that “Deckard” deserves what he gets and that “Roy” is no worse than him. In other words “Roy” dislocates “Deckard’s” fingers because he is feeling grief and revenge, which are human emotions and this makes the audience question whether “Roy” is partly human. In addition “Roy” has “Deckard’s” gun yet he doesn’t kill him, he simply handicaps “Deckard” making the “game” more sporting. This creates sympathy for “Roy” because “Deckard” will feel a greater need for revenge, boosting his determination to kill “Roy”. Also dialogue in this section of the scene makes these actions seem more explicit as “Roy” lists names, “This is for Pris…This is for…” reminding the audience that “Roy” has a reason to kill “Deckard”. In addition it makes the viewer question who is the hero and who the villain? For “Deckard” has carried out evil acts too and caused pain, surely this isn’t the definition of a “hero”.
Another technical code is used when “Deckard” strikes “Roy” across the face with an iron bar and “Roy” does not retaliate because he knows he is soon to die anyway: he sees no point. Ridley Scott does this purposefully to make the viewer pity the Replicant by showing that he isn’t purely evil, he has feelings and he has emotions.
“Roy” and “Deckard” at one point in the chase are juxta posed in two consecutive frames. “Roy” is driving a nail through his palm, hoping for a sudden rush of adrenalin to keep him going and “Deckard” is seen bandaging up his dislocated hand. In view of the fact that both characters have something in common, they both have a handicap, the viewer sees the pair growing closer together and so it becomes harder to make a distinction between Human and Replicant. Sympathy is created for “Roy” due to the fact that he is harming himself and when someone is inflicting pain on them self its usually because they are upset and in desperate need of help. The fact he has to gain strength to pull the nail out and push it into his hand shows he is desperate, again creating sympathy.
This leads us directly to the second semiotic code to be explored, the cultural code.
The nail that “Roy” puts through his hand has a cultural significance. It represents an image of Crucifixion; provoking ideas of “Christ” and saviour like figures. This makes the audience feel sympathetic towards the Replicant because Christ was an innocent man, leaving the question of whether “Roy” is innocent and does he deserve to die?
“Roy” sees the chase scene as a “game”; this is brought across to the viewer by “Roy’s” use of dialogue: “Five, six, seven go to hell go to heaven”, “I can see you!” and “ It’s not very sporting to fire at an un-armed opponent.” This makes the viewer feel empathy for “Roy” because it’s as if he himself is a living game: he has been made and programmed to do as his creator decided. To live under restrictions and have to obey rules, like not coming back to Earth, makes the audience feel sorry for the Replicant. The idea of “Roy” being a slave or product contrasts with the image of his playfulness and child like features. Both slaves and children have the stereotypes of innocence and naivety again creating sympathy for “Roy”. This continues the constant theme of Human versus Replicant (Child versus Slave). Again it is very hard to distinguish between the two.
Eye contact is of noticeable content running throughout the film; this reflects the difficulty in distinguishing between Replicants and Humans, the good and the evil and finally “Roy” and “Deckard”. This links in with “Roy” crying and showing his emotions, it makes it very hard to choose who is the hero and who is the villain. It raises unspoken questions in the viewers’ mind like, is “Deckard” a Replicant? And Does “Roy” have a soul?
“Roy” wears a long, black Nazi style coat at the beginning of the chase scene. Along with his piercing blue eyes and blonde hair he is portrayed as an evil character out to kill. However his actions do not suit his costume entirely i.e. when he does not shoot “Deckard” with his gun, he hands him it back. Later he takes the coat off, and his eyes become softer and tamer: “Roy” looks almost like an angel/saviour figure. The taking off of his coat represents “Roy” shedding his sins: becoming at one with the world, God and eventually “Deckard”. Hence this makes the viewer empathise with “Roy” because it shows he knows he is helpless, he can do no more and must die.
Before “Roy” and “Deckard” expose themselves to the rain “Roy” has “Pris’s” blood smeared across his face, echoing images of Christ wearing a Crown of Thorns. Again relating “Roy” to a saviour figure: Christ is seen as a “good man” and so yet again the rhetorical question is raised of “Is “Roy” the hero?”
Symbolic codes are used in “Blade Runner” in various ways to create sympathy for “Roy” and are closely related to cultural codes.
For example just after “Deckard” has killed “Pris” and “Roy” is caressing her face, a light flickers over the two of them. Although created technically this symbolises his life flickering in and out while the darkness symbolises death. This creates sympathy for the Replicant because he is seen grieving, feeling for “Pris”, and the viewer realises that “Roy” understands his life will soon come to an end.
Before the pursuit takes place, “Roy” howls like a hunted animal; this reflects his pain, suffering and his sorrow. The viewer empathises with his feelings because they are emotions that all humans can relate to, an image of “Roy” being an animal, which continues later when he is trapped in a corner by “Deckard”. The framing of the shot emphasises this because it is close up, making the viewer feel almost claustrophobic, understanding further how “Roy” must feel. When “Roy” smashes his head through a solid brick wall; like a Bull, which makes his head look like a trophy mounted upon a wall. His actions thus remind the viewer that “Roy” is a Replicant but still his “human rights” are in question. It would be impossible for a human to deliberately smash his head through a wall without causing fatal injuries.
The chase leads “Roy” and “Deckard” outside; symbolising their getting closer to heaven and peace, closer to one and other and “Roy” closer to his death. The rain outside creates a gloomy, depressing atmosphere, which parallels “Roy’s” feelings (pathetic fallacy). Furthermore as he begins to cry his tears are “lost in the rain” and the blood is washed off his face. This symbolises “Roy” being cleansed of all sins and their falling like the rain and his tears, downwards, i.e. towards hell. This shows “Roy” has become at one with God and therefore his probable salvation. This short monologue: “I’ve seen things you people would never believe… All of theses moments will be lost in time like tears in the rain. Time to die”, makes the viewer feel real sorrow and sympathy for “Roy”; his last words sum up his life. Its as though “Roy” feels he himself is merely a tear in the rain and just one of many Replicants that will be forgotten after they die. The tears meanwhile show he feels yet again as a human does and hence the viewer relates to “Roy” and therefore empathises with him.
Finally he dies and a dove flies away out of his hands, representing peace and “Roy’s” soul. But does “Roy” have a soul? This is one of the many rhetorical questions the viewer is left to think about. It is not a spoken question, it is an open-ended sign, there is no limit the audiences’ interpretation; it is a mere guide to their emotional response.
To conclude I think the piece is extremely successful in making the viewer feel sympathy for “Roy” through each semiotic code. The issues raised about “Roy” through these leave the viewer in suspense with unanswered questions like: Was “Roy” programmed to have emotional responses? What are his rights? Maybe he was man made. But aren’t we all?
