What_Concepts_Are_Common_to_Both_Frankenstein_and_Blade_Runner,_and_How_Have_the_Composers_Created_These_Concepts_

Mary Shelley’s 1818 gothic novel Frankenstein shares many themes with Ridley Scott’s 1982 film Blade Runner. Despite the 150 year difference in their contexts, both warn against exceeding the limits of nature, explore the essence of humanity, and highlight the importance of relationships. As a Romantic, Shelley believed in the power of nature and was opposed to the rationality encouraged by the Age of Enlightenment. This influence is exposed in the novel through the repercussions of Frankenstein’s “pursuing nature to her hiding-places.” Frankenstein is compared to Walton, who believes that “one man’s life or death were but a small price to pay for the acquirement of the knowledge”. The metaphorical “intoxicating draught” of new knowledge lures both men, but Walton chooses the ‘right’ path, expressed through the quasi- happy ending, where his authority is restored and the monster leaves society. Shelley’s readers are further warned through the symbolism of hands, used to both create and destroy. The monster, referred to by his creator as “the work of my hands”, leaves “the black mark of his fingers” on the necks of William, Henry Clerval and Elizabeth. The punishment for Frankenstein’s crimes is also manifested in the bleak imagery of the polar regions. As a modern Prometheus, Frankenstein is Shelley’s warning against the chase of knowledge. Created from various dead body parts, Frankenstein’s monster is undoubtedly unnatural. His humanity, however, is repeatedly questioned. The de Laceys call him a “ ‘good spirit,’ ‘wonderful’ ” when he imperceptibly does their chores, and the old de Lacey cannot discern his monstrosity, as “something in your words…persuades me that you are sincere.” Frankenstein’s creation is often associated with Adam, “united by no link to any other creature in existence”. Despite this similarity, Frankenstein “detest[s] and spurn[s] me, thy creature”, driving the monster to exact revenge on his creator. His use of Biblical language demonstrates his eloquence, a trait which leads the reader to sympathise with the creature, again demonstrated in the monster’s final speech, stating “light, feeling, and sense will pass away.” Throughout Frankenstein, the monster displays distinctively human traits, leading us to revise our views on humanity. Frankenstein also illustrates the importance of relationships. These relationships, between Frankenstein and his family and friends, are denied to the creation. The monster is rejected at conception, and consequently has no father figure. Instead, the de Laceys unwittingly take on the role of the mentor and teach him to “admire their virtues and to deprecate the vices of mankind.” Through their interaction with each other, the de Laceys and Safie educate the monster about “brotherly love and charity” and “the various relationships which bind one human being to another in mutual bonds”. The value of relations is bluntly expressed through Frankenstein’s hyperbole that “on the whole earth there is no comfort” after the death of Clerval. By contrasting the relationships of both Frankenstein and his creation, Shelley highlights their significance. Like Frankenstein, Blade Runner warns against pursuing science too far. 'Playing God' was again becoming a real threat in the 1980s, with the introduction of genetic modification. The film demonstrates the divine retribution that results from the creation of beings "more human than human". Mirroring the monster, the Replicants Roy, Pris, Leon and Zhora readily kill Tyrell and J. F. Sebastian in their quest for “more life”. Blade Runner’s film noir feel, with dimly lit sets, cigarette smoke, and urban night scenes, symbolises the darkness of Tyrell’s monopoly. The effect of science also extends to the environment, the opening panoramic shot of the city showing an eternal night that lacks both a sun and a moon. All grass and trees are replaced by acid rain and skyscrapers, animals by Replicant owls, snakes and doves. Scott's vision for the future was no doubt a reflection on the threat of global warming, emerging in the early 1980s. The nature of humanity is similarly explored in Blade Runner, through both the Replicants and Deckard. Like Shelley, Scott depicts his Replicants, especially Roy, as being more human than humans such as Gaff and Bryant. The distinction between human and Replicant is distorted with the implantation of memories and experiences via photographs, furthered by Deckard’s obsession with photos. Gaff’s prophetical origami figures, as well as the unicorn dream sequence, only add to his uncertainty. Furthermore, Scott draws parallels between Jesus and Roy, reminiscent of the monster’s connections to Adam and Satan, thus embodying the perfect human within the crucified leader of the Replicants. The severe contrast between the features of the Replicants, in particular, the Zhora’s red hair and Roy’s blue eyes, and the colourless features of the other humans, suggests the Replicants are more genuine than the humans in the film. Ironically, the Voight-Kampff machine is the only way to determine one’s humanity, focusing on the eyes, windows to the soul of beings apparently lacking souls. In Blade Runner, the relationship between Roy and Tyrell is explored, as well as that of Deckard and Rachael. Distinct from Frankenstein, Tyrell embraces his creation, comparing him to a “light that burns twice as bright”. Labelling Roy his “prodigal son”, Tyrell shows his pride in Roy, reflected in the swelling, synthesised bass track. This track also serves the purpose of building tension and foreshadowing the violent end of Tyrell as a result of Roy’s stronger ties with his fellow Replicants. Deckard’s relationship with Rachael, on the other hand, is less violent. Music is again used to express this, with a more optimistic tone as the pair leave Deckard’s apartment. Scott also utilises common motifs to link them, such as Deckard’s piano, photographs, and the possibility that Deckard is a Replicant. Scott differs from Shelley by having the creator accept his creation, and relies on music to portray his relationships. Frankenstein and Blade Runner share strikingly similar themes, from the dangers of taking science too far, and the humanity of non-human beings, to the importance of relationships. The resemblance arises from the similarities in the social contexts in which they were composed.