Alien

“Chances are, when we meet intelligent life forms in outer space, they’re going to be descended from predators”…..Dr. Michio Kaku

When screenwriter Dan O’Bannon was pitching to the studio his idea for a film, which was at one point called “Star Beast,” he concisely summed up the premise for the suits by describing it as: “Jaws in Space.”

I received some friendly criticism for the position I took on “black-eyed man eaters” (sharks) in my “Jaws” review.  Fine.  There would probably be significant natural consequences if sharks were no more.  But, in the sci-fi/ horror classic “Alien,” directed by the master of the hit or miss Ridley Scott, we are not constrained by such real life considerations.

The monsters that inhabit the “Alien” films are coveted by the mysterious “company,” because of their potential usefulness as biological weapons.  Weyland-Yutani, the fictional and wholly amoral mega-corporation in the “Alien” universe, has its own “official” web page.  I checked it out once, and I am so glad that there are people that have both the time and inclination to make a site about an evil company that does not exist.  It’s actually quite well done.  The site posits that the “xenomorphs” (aliens) either resulted from natural selection, or were genetically engineered by some unknown malicious force.  Point being, the aliens are so inexplicably aggressive and basically anti-life, that they have captured the wonder and imagination of sci-fi fans since the late 70’s.  Personally, I think they were genetically engineered.  Successfully capturing one of these things is clearly impossible.

“Alien” and “Jaws” do have some things in common, but not a whole lot.  I said of “Jaws”: “A horror movie that makes you feel fuckin’ great about life.”  This is the major difference between these two monster movies. “Alien” is a horror film that makes you feel fuckin’ great about nothing.  Quite the opposite.

The Swiss artist H.R. Giger, who apparently suffers from night terrors, inspired the look of the aliens and the world they inhabit with his drawings and sculptures.  Needless to say, Giger’s art is beyond disturbing.  Giger pioneered a style known as “biomechanical,” which basically blends ambiguous organisms with machinery.  Doesn’t sound too bad, right?  Wait there’s more.  Giger also is pre-occupied with offensive and unsettling sexual imagery, and it is blatant in his work.  Tread softly if you decide to check out his stuff.  As one of the producers of “Alien” described the look of the creature: “It could just as easily fuck you before it kills you.”  This movie goes places that “Jaws” dare not.  Bad places.

There is nothing glamorous in “Alien.”  It portrays space-work as gloomy and inhospitable.  If “Star Wars” was a space opera, than “Alien” is a space ode.  Up till now, you might be wondering why I like this movie. Because it’s arguably the most superbly executed sci-fi/horror movie ever.  As I mentioned earlier, Giger’s style pokes at our danger spots, which puts it above…or below its peers in the “a- terrible- beast- is- on -the -loose” genre.  Most importantly, the movie still holds up and is appreciated to this day, proof of its classic nature and timelessness.  It can be enjoyed for its technical expertise, or simply for its terrors.

In, “Alien,” we are introduced to Lt. Ellen Ripley.  Ripley is an important character in movie lore.  Put plainly, she’s the first female badass.  It’s uncanny how she retains her femininity while filling, with icy courage, a traditional male role.  If the alien is the primary icon born in this movie, than Ripley is the second.

A step down on the creepy ladder from the beast is Ash (Bilbo).  His true nature, as someone with deadly secrets, is revealed in some truly shocking scenes.

There are some movies, where you should feel like shit when you leave the theater.  That means those who worked on it, did their jobs well.  “Aliens,” the sequel, which I’ll talk about eventually, might have this effect on viewers even more.  But “Alien”, is a perfect start.

- Magistrate Dunham