Now let's imagine the prequels have never been made, let's take ourselves back to 1979 when Ridley Scott had finished editing the live action interpretation of Dan O'Bannon's screenplay. I envy the audiences that were able to see this in the era it was released. To be able to experience it in the age of model based special effects, the age where directors had to be clever with their camera angle and editing to ensure the FX shortfalls were never seen, would be the way to truly appreciate what was achieved with great sci-fi film making.
Given this was a movie that came out 11 years after Space Odyssey and 2 years after A New Hope, it's clear to see why so many space films have fallen by the wayside in comparison. Not only that, you have the Planet of the Apes beginnings released that again hit the sci-fi scene like a sledgehammer. Maybe I am wrong but there were not many violent blockbuster films knocking around and certainly even fewer commercially successfully sci-fi movies with a R-rating.
The question you have to ask, which I mentioned in my review of Prometheus, is did the financiers, the screen writers, directors and even the actors know what they had produced? At what point did they realise how successful the Alien Franchise would become, spawning spin off movies, countless number of computer games and merchandise that would make it one of the most revered franchises in cinema history.
The opening to the film is very slow, very calm and very subtle. We have a reveal of the title over a backdrop of space, revealing itself in angular lines with the music and visual matching its pace. Instantly this is more Space Odyssey than New Hope, with the peacefulness to let you enjoy the calm before the storm. Like many space films there is the obligatory scene of the ship passing over the camera and on its journey. The ship is the Nostromo, a name that in itself has been become a geek out for all sci-fi fans, a mining towing vessel on its way back to Earth with a crew of only 7.
So, um, we think we should discuss the bonus situation.... - Parker (Yaphet Kotto)
Following an awakening of the ships computer, 'Mother', there are a number of systems booting up, old school modem clicks and computer noises that build irritation levels to the first scare jump, the computer flashing against a flight helmet. The slow, calm opening is finished beautifully with the camera moving through the now iconic Octagon hallways and doorways, to a very artistically shot time fade sequence of the crew waking from their stasis slumber. These are scenes that I don't feel have ever been equalled in their simplicity since; with the majority of sci-fi films seeming to have lost the intelligence and artistry to replicate such a simplistic opening.
It transpires, their early awakening is due to the receipt of a transmission from a nearby planet that leads to the discussion about a directive from 'The Company', that will not allow the crew to disregard it with the threat of forfeiture of any payment and bonus. As such the crew have no choice but to change course and reluctantly investigate what is perceived to be a non-terrestrial signal. This does feel very much like a corporation doesn't care about its workers undertone and what follows is one of the most revolutionary and iconically violent movies that changed the way blood, gore and action has been seen for generations since.
The scene around the table where we witness the first sight of the 'Alien', is quite possibly one of the best scenes you will ever see, this is highlighted by the last frames showing the cast stood around looking at the blood and massacre, with complete shock and wonder at what they have just seen. I truly believe the looks on their faces are all of real shock and awe at what they have just shot rather than them acting the scene. Having re-watched this sequence I noticed many more aspects that reconfirm this, you have to take it all into the context of when it was made; the FX, the films that had come before and the sheer beauty of the cinematography must have blown the mind of everyone in the audience in 1979.
'Here kitty, kitty, kitty. Meow. Here, Jonesy' - Brett (Harry Dean Stanton)
Cast wise, you have the legend that is John Hurt, the smooth and confident acting of Tom Skerritt, the reserved calmness of Ian Holm and what would become such an empowering and iconic performance from Sigourney Weaver. These 4 are amazing and perfectly cast.
Ash (Ian Holm), is played so emotionlessly and calmly but engaging that it is truly a surprise when you discover his true agenda and origins. Holm actsthis amazingly well, with the correct balance of arrogance, engagement and hostility to have you questioning him but not quite being able to put your finger on why. Dallas (Tom Skerritt) is the captain of the crew but is still subject to the rules of the company as well as the science officer of the ship. As I have said Skerritt brings his calm acting style to the table and is just perfectly cast to play the role that he does. He portrays the air of authority and control that you are instantly respectful of and endeared to. Kane (John Hurt) is not the most note worthy character but you can't really say anything negative about John Hurt, with such a classically trained and stunning actor you can't help but adore his performance.
'Micro changes in the air density, my ass' - Ripley (Sigourney Weaver)
That leads you onto Sigourney Weaver. What can you say about one of the best leading ladies there is in film, she puts the classic actors to the test in near enough any performance she has given. In an era so far before #metoo, to have such a strong and iconic lead female actor is in itself something to admired. The way Ripley (Sigourney Weaver) is slowly elevated throughout the film is so subtle that you wouldn't know she is the hero of the film until it is so glaringly obvious it smacks you in the face. This is just my opinion, but this is quite possibly a groundbreaking leading female role that is so far from glamorous stereotype roles but still Weaver manages to maintain such an air of femininity that it revolutionised the view of a leading female characters within the film industry.
The film on the whole is quite slow, there is very much a slow pace to how the events unfold with the occasional flurry of action, but with an artistry that grabs and holds your attention throughout.
'Danger, The emergency destruct sequence is now activated' - Mother
The closing of the film is also very simplistic and tension building, in fact beautiful in its simplicity. There are no big fast paced explosions and fights, just a slow and calculated decision from Ripley (Sigourney Weaver). There is a moment of Ripley nervously muttering the song 'You are my Lucky Star' that is either a personal addition from the writers or an adlibbed addition from Weaver herself.
I would say there is an influence from Stanley Kubrick's 2001: A Space Odessey, but how can you ignore the best directors of all time and not be influenced by his genius? What Ridley Scott has done however, is to take that influence and add to it in such a way as to make Alien stand out above the crowd for decades to come and cement it as one of the most classic films of all time.
I have a problem when it comes to reviewing films that I love and have watched before, trying to stay objective and impartial from adoration. As much as this may seem like one of those instances, I can (almost) honestly say that's not the case with this film. This is one of the most iconic films that has revolutionised not only the sci-fi and horror genre but almost every genre of action film making, not always in a positive way. There are a lot of films since that have tried to go big and bold, that have tried to emulate it in such a way that they fall at the first hurdle, which only adds more testament to it.
Farquaad's Score: 4.5 stars or 9/10
IMDB: 8.4/10 (732,489)
Metascore: 89 (34 Critic Reviews)
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