Subject: Retrospective: Alien (1979)

From: "Dragan Antulov" <[email-masked]>
Date: 24 Oct 1998 05:21:00 GMT

ALIEN
A Film Review
Copyright Dragan Antulov 1998

When science fiction becomes topic of discussions among
people who aren't fans or even superficial connoisseurs of
the genre, they usually have very narrow definition of what
science fiction film is or what it should be. Thanks to the
influence of people like George Lucas, Steven Spielberg or
Gene Roddenberry, science fiction is considered escapist
genre about fantastic worlds almost always better than our
own. However, in the late 1970s, after debilitating fuel
crisis, unprecedented political turmoil, and unstoppable
decline of world economy, future didn't seem bright anymore.
Filmmakers suddenly began using the media of science fiction
films to express their anxiety and scepticism towards things
to come. ALIEN, second feature film by Ridley Scott, also
joined the trend, this time by using big budget resources to
resurrect almost forgotten sub-genre of SF horror, until
then strictly in the B-movie domain.

The plot of ALIEN is set in a future that might look far,
yet in the same time share many elements with the world of
today. Interstellar flight isn't some breathtaking
scientific achievement anymore and private companies use
spaceships to bring precious ore to Earth. One of such ships
is "Nostromo", whose seven-member crew spends most of the
time hibernated. After they are awaken by ship's computer,
they realise that they are still far away from Earth.
"Nostromo" received a distress signal from an unknown planet
and the crew, led by Captain Dallas (Tom Skeritt) is ordered
to investigate. They land on the planet and small expedition
finds huge alien derelict. Inside the derelict, second
officer Kane (John Hurt) finds thousands of eggs, but one of
them explodes and alien organism gets attached for his face.
Comatose Kane is brought back to the ship, but first officer
Ripley (Sigourney Weaver) don't want to let him out of
quarantine. Her decision is overridden by science officer
Ash (Holm) who breaks security procedure in order to study
the organism.

The entire concept of ALIEN - concept that can explain its
great success as horror film - is just another story of
human beings confronted with their inherent limitations.
Technology can make human life longer or easier, yet it
can't remove human imperfection, brilliantly demonstrated in
this film both on physical and emotional level. Space, which
could create sense of wonders with its inconceivable beauty,
can in the same time be the source of horrors beyond
imagination, horrors that leave puny humans as helpless
victims, despite all their superior technology and
intelligence.

To illustrate that point, director Scott hired the talents
of a Swiss artist H.R. Giger, who had created the most
notorious monster in history of cinema. Like nobody else
before and after him, Giger succeeded in making a creature
that is completely alien from anything in human experience,
yet in the same time with shapes and forms that bring back
the worst fears from our collective subconscious. Whether it
is its a huge head, encroaching tail, clawed hand or double
set of constantly salivating mouth with sharp teeth - even
the glimpses are enough to make people anxious. Scott very
cleverly decided never to show the monster in full shot,
leaving to the viewer to draw complete picture in his mind,
most probably consumed by irrational fear.

Excellent contrast to all-powerful, invincible and
unstoppable monster are imperfect humans that reluctantly
become its enemy and prey. The screenwriter Dan O'Bannon,
who had already explored those themes in his low-budget
classic DARK STAR few years earlier, created very human and
believable characters to illustrate such flaws. They aren't
scientists or astronauts, they are simple working men more
interested in simple pay check than all the wonders of
universe, more likely to use four letter words than esoteric
scientific terms. Scene immediately after their awakening
brilliantly illustrates their disenchantment with space
technology - after spending months in hypersleep and
travelling tens of light years, the first thing they do is
to gather around table, smoke cigarettes and bicker about
low wages. Those characters are also enhanced through superb
acting by one of the strongest ensemble cast in history of
cinema. Most notable is Sigourney Weaver in her debut role,
who would prove that women can carry action movie in the
sequel; here, in the first film, she is just very capable
space officer, with strong will and more sense than anybody
else, yet also consumed by terror when she must face the
deadly foe. She managed to steal the top spot from nominally
lead actor, Tom Skeritt, who plays Captain like a man who
can establish authority without raising voice, yet in the
same time burdened by indecision and lack of courage. John
Hurt is also good, although he has the least of screen time.
Ian Holm is wonderful as antipathetic bureaucrat that values
scientific results more than human life; small hints about
his character only later reveal the even more disturbing
truth. Veronica Cartwright, originally cast to play Ripley,
is also more than impressive in a quite different role of
navigation officer Lambert; at first only bickering, her
character turns into incarnation of frailty and panic.
Finally, O'Bannon's script manages to create some kind of
social stratification even in the such little universe like
"Nostromo" - two of the characters are low paid blue-collar
types that dwell in the dark and greasy lower decks. Yaphet
Kotto is excellent as Parker, bickering giant that has a
great heart; and, finally, Harry Dean Stanton gives another
subtle performance of his quiet and dim-witted, yet very
sympathetic assistant Brett.

With strong cast and good script, ALIEN also benefited from
very good director. Ridley Scott, who was at his prime in
late 1970s and early 1980s, showed great skill in creating
very distinctive visual images. ALIEN perhaps doesn't look
as spectacular as his next  masterpiece, BLADE RUNNER, but
the thick atmosphere is here, with elaborate and extremely
detailed production and costume design. Special effects are
still impressive and very convincing, even after two decades
of science fiction movies that used superior techniques. The
disturbing feel of the movie is also enhanced by haunting
score written by veteran film composer Jerry Goldsmith, one
of his best. Scott is also good in editing, when he manages
to create some of the most shocking scenes in the history of
cinema. But, ALIEN functions wonderfully as whole, not just
like a mechanical sum of all those good elements. The film
has a relatively slow pace in the first half, when Scott
allows us to meet and study characters and claustrophobic
environment they inhabit. Then the plot thickens and second
half is a frightening thrill-ride. Unlike many less talented
horror directors of that era, Scott doesn't put emphasis on
gore (although the legendary dining scene has a plenty of
it) and tries to scare the viewers by creating haunting
atmosphere and implying terrible events instead.

The fear and anxiety that viewers share with the movie
protagonists made ALIEN one of the most successful horror
films, if not the best horror film of all times. Fact that
it created numerous imitations and spawned three sequels so
far speaks enough of its quality and importance. Yet the
best recommendation for this film is the multitude of fans
that watch this movie time and time again, re-experiencing
same, often not so pleasant emotions, yet enjoying the
rarely good work of art when they see one.

RATING: 10/10 (+++++)

Review written on October 23rd 1998

Dragan Antulov a.k.a. Drax
Fido: 2:381/100
E-Mail: [email-masked]
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