I’m going to posit a fairly unpopular opinion right now, but it’s one that I’ve held for a long time now (and my most current viewing of the film didn’t dispossess me of this belief), the original 1979 Alien is one of the more over-rated science fiction films of all time. It is generally held up as one of the greatest sci-fi horror movies ever made, and if that’s true, sci-fi horror must be a sadly dull genre of cinema. Even now, 34 years later, it’s clear that Alien was a crowning technical achievement. And much like Black Rain and Black Hawk Down, it should be obvious to everyone that Ridley Scott is a masterful director with a keen visual eye. Sadly, the pacing in Alien is downright tedious at times and the film never frightened me once. Through in the fact that, outside of Ripley and the character played by Yaphet Kotto, I didn’t care about any of the characters in the film, Alien is a sadly stale if exceptionally technically well made sci-fi horror.
Alien is considered to be one of the premier films of the “less is more” philosophy of horror film-making. And I am a huge supporter of that genre. The original Paranormal Activity crafted a genuine modern horror classic on that principle, and Roman Polanski’s psychological horror masterpiece Repulsion is also from the same vein. But those films succeed where Alien often fails with an understanding of how to fill the scenes in between the horror. Paranormal Activity had the great banter between Micah and Katie and Repulsion had its omnipresent social commentary on the dangers of sexual repression. Alien has its plot and practically nothing else besides its admittedly suffocating atmosphere. If Alien had found a way to breathe life to the characters portrayed by its star-studded cast, it might have been a great film. As it is, Alien simply is not.
In the future, the commercial towing ship Nostromo holds 7 passengers (plus a cat) as it returns to Earth after a successful mining operation. However, before the ship can reach Earth, the crew is prematurely awakened from its cryogenic stasis when they intercept an emergency distress beacon on a remote planet. An away team consisting of the ship’s two commanding officers, Dallas (Tom Skerritt) and Kane (John Hurt), as well as the navigator, Lambert (Veronica Cartwright), heads down to the planet’s surface to investigate the distress beacon where they find a crashed, derelict space craft with nothing left alive on board. Or so they think. Kane finds an egg in one of the ship’s chambers and a mysterious alien life form attaches itself to his face, even breaking through his helmet, creating a parasitic attachment to Kane’s head. When the chief science officer, Ash (Ian Holm), breaks quarantine rules and let’s the away team back on the ship, the whole crew’s lives is put in danger.
It is quickly apparent once the away team returns that the alien attached to Kane’s face is very dangerous. Warrant officer Ripley (The Village‘s Sigourney Weaver) is angry enough that they let the alien on the ship in the first place, and the engineers Parker (Yaphet Kotto) and Brett (Harry Dean Stanton) aren’t too pleased about it either. No one knows what the alien is or why it’s attached itself to Kane’s face, but there’s a ray of hope when the alien seemingly disappears. Kane seems to be alright until an infamous dinner sequence where an evolved version of the alien bursts forth from his chest. And from that point forward, it’s a race against time to either kill the alien or be killed as it evolves and starts to take more and more of the ship’s crew down with it.
I’ll give Alien credit for the things it does astoundingly well. As I’ve said, this movie is 34 years old now. Other than a hilariously 1970s/1980s idea of what computers will look like in the future (apparently they all still run on DOS), the special effects and general feel of Alien has aged remarkably well. There were only a couple occasions where I thought the effects looked laughably aged (an explosion at the very end of the film being the most prominent one), and like the original Star Wars films, Alien is a film you could show to today’s kids and they wouldn’t laugh at its look. And, beyond the effects, Ridley Scott makes the atmosphere and look of the ship absolutely suffocating and dripping with dread (even if nothing especially scary ever happens). The lighting and camerawork of the movie are superb, and I just wish it’d had a better script supporting it.
The film is also chock full of some of the best character actors of the 1970s and is the film that shot Sigourney Weaver to stardom. And the performances are great. While the characterizations of the people aboard the ship are paper-thin, the actors have a strong chemistry, and the animosity between Ash and Ripley is so strong that one almost wonders if they disliked each other in real life. They legitimately gave the impression that they simply couldn’t stand to be around one another. Sigourney Weaver helped to encapsulate one of the ultimate female bad-asses in movie history, and her turn as Ripley is one of the great parts of the film, although I loved the consistently scheming and disapponted Parker played by Yaphet Kotto. Parker and Ripley were the only two characters in the film that seemed to have any bite to them.
I’ll draw this review to a close. I hope you can tell that I don’t dislike Alien. It is an inarguably well-crafted film, and it helped bring Ridley Scott’s talents to mainstream prominence. Unfortunately, it’s script is simply alright, and it doesn’t do justice to Scott’s artistic vision and talent. Black Rain is one of the least remembered/discussed of Ridley Scott’s films, but I honestly think it’s better than Alien. It is smart and stylish from beginning to end, and though it’s not some shining example of cinematic art, it always remains fun. Alien wants to be cinematic art, but it isn’t good enough to pull it off. I think everyone should watch Alien. Like John Carpenter’s The Thing, it’s required sci-fi horror viewing 101; I just don’t think it’s the timeless classic that everyone else does.
Final Score: B