(SPECIAL NOTE: Capsule review of the same film is available here.)
When science fiction becomes a topic of discussion among people who aren't fans or even superficial connoisseurs of the genre, they usually have a very narrow definition of what a 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 an escapist genre about fantastic worlds almost always better than our own. However, in the late 1970s, after a debilitating fuel crisis, unprecedented political turmoil, and the unstoppable decline of the world economy, the future didn't seem bright any more. Filmmakers suddenly began using the medium of science fiction films to express their anxiety and scepticism towards things to come. Alien, the second feature film by Ridley Scott, also joined the trend, this time by using big-budget resources to resurrect an 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 seem far off, yet at the same time shares many elements with the world of today. Interstellar flight isn't some breathtaking scientific achievement any more, and private companies use spaceships to bring precious ore to Earth. One such ship is the Nostromo, whose seven-member crew spends most of the time in hibernation. After they are awakened by the ship's computer, they realise that they are still far away from Earth. The Nostromo received a distress signal from an unknown planet, and the crew, led by Captain Dallas (played by Tom Skerritt), is ordered to investigate. They land on the planet, and a small expedition finds a huge alien derelict. Inside the derelict, second officer Kane (played by John Hurt) finds thousands of eggs, but one of them explodes and an alien organism attaches itself to his face. Comatose Kane is brought back to the ship, but first officer Ripley (played by Sigourney Weaver) doesn't want to let him out of quarantine. Her decision is overridden by science officer Ash (played by Ian Holm), who breaks security procedure in order to study the organism.
The entire concept of Alien – a concept that can explain its great success as a horror film – is just another story of human beings confronted with their inherent limitations. Technology can make human life longer or easier, yet it cannot remove human imperfection, brilliantly demonstrated in this film both on a physical and an emotional level. Space, which could create a sense of wonder with its inconceivable beauty, can at 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 the Swiss artist H.R. Giger, who created the most notorious monster in the history of cinema. Like no one else before or after him, Giger succeeded in making a creature that is completely alien from anything in human experience, yet at the same time with shapes and forms that bring back the worst fears from our collective subconscious. Whether it is its huge head, encroaching tail, clawed hand or double set of constantly salivating mouths 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 it to the viewer to draw the complete picture in his mind, most probably consumed by irrational fear.
An excellent contrast to the all-powerful, invincible and unstoppable monster are the imperfect humans who reluctantly become its enemy and prey. The screenwriter Dan O'Bannon, who had already explored those themes in his low-budget classic Dark Star a 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 a simple pay cheque than all the wonders of the universe, more likely to use four-letter words than esoteric scientific terms. The 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 gather around a table, smoke cigarettes and bicker about low wages. Those characters are also enhanced through superb acting by one of the strongest ensemble casts in the history of cinema. Most notable is Sigourney Weaver in her debut role, who would later prove that women can carry an action movie in the sequel; here, in the first film, she is just a very capable space officer, with a 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 the nominally lead actor, Tom Skerritt, who plays the Captain as a man who can establish authority without raising his voice, yet at the same time is burdened by indecision and lack of courage. John Hurt is also good, although he has the least screen time. Ian Holm is wonderful as an antipathetic bureaucrat who 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 as navigation officer Lambert; at first only bickering, her character turns into an incarnation of frailty and panic. Finally, O'Bannon's script manages to create some kind of social stratification even in such a small universe as the Nostromo – two of the characters are low-paid blue-collar types who dwell in the dark and greasy lower decks. Yaphet Kotto is excellent as Parker, a bickering giant who has a great heart; and, finally, Harry Dean Stanton gives another subtle performance as his quiet and dim-witted, yet very sympathetic assistant, Brett.
With a strong cast and good script, Alien also benefited from a very good director. Ridley Scott, who was at his prime in the 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 there, with elaborate and extremely detailed production and costume design. The 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 a haunting score written by veteran film composer Jerry Goldsmith, one of his best. Scott is also good at editing, managing to create some of the most shocking scenes in the history of cinema. But Alien functions wonderfully as a whole, not just as 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 the characters and the claustrophobic environment they inhabit. Then the plot thickens, and the 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 plenty of it) and tries to scare the viewers by creating a 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 time. The fact that it created numerous imitations and has spawned three sequels so far speaks to its quality and importance. Yet the best recommendation for this film is the multitude of fans who watch it time and time again, re-experiencing the same, often not so pleasant emotions, yet enjoying a rare good work of art when they see one.
RATING: 10/10 (+++++)
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(Note: The text in its original form was posted in Usenet newsgroup rec.arts.movies.reviews on October 24th 1998)
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