Year of Release: 1979
Director: Ridley Scott
Length: 117 mins
Starring: Sigourney Weaver, Tom Skerritt, John Hurt, Harry Dean Stanton, Veronoca Cartwright, Yaphet Kotto, Ian Holm.
Stone cold classics don’t come much colder or more classic than Alien. Widely regarded as one of the best films ever made despite being produced on a comparatively small budget, it was a smash hit and a critical success, even winning a well-deserved Academy Award for Best Visual effects, along with numerous other accolades. Every aspect of the film has been scrutinized and invariably come to be revered, even the above poster. However, had it not been for the unprecedented success of Star Wars, the film would probably never have been made. Eager to capitalize, 20th Century Fox rushed to produce a movie in a similar vein. Alien was shot in just 14 weeks in the second half of 1978, primarily at Shepperton Studios, and Bray Studios in Berkshire, where many Hammer Horror films were made before the site was redeveloped into luxury apartments.
Alien follows the crew of the commercial space tug Nostromo in the year 2122, which is returning to earth with its seven crew members in an induced hyper sleep. Upon detecting a distress signal from nearby a Moon, the ship’s computer, Mother, awakens them and they send a search party out to investigate. On the mission, one of their number, Executive Officer Kane (Hurt) is attacked by an alien creature which attaches itself to his face (hence the name ‘facehugger).’ Kane is taken back to the Nostromo where, some time later, he wakes with seemingly no ill effects. That is, until the crew are all sharing a meal and the iconic chest bursting scene goes down. That’s enough to put anyone off their food. Now beginning to realize that the Nostromo has been infiltrated by a killer alien entity, the surviving crew set out to seek and destroy the now fully-grown, and scary as fuck, transgressor who, of course, picks them off one by one. As if this isn’t bad enough, Ripley (Weaver), now in command as ship’s captain Dallas (Skerritt) is one of the first to bite the dust, is attacked by another crew member, Ash (Hulme) who is then revealed to be an android with a pre-programmed agenda which is vastly at odds with the rest of the crew. And common sense. The whole thing climaxes in sole survivor Ripley destroying the Nostromo, taking Jones the resident cat, and escaping in a mini shuttle. Until she’s called upon to go back to work in the 1986 sequel, imaginatively titled Aliens.
In the years since its release, one of the most interesting aspects explored by critics is the film’s supposed sexual overtones. The adult xenomorph bristles with sexual imagery and a sex scene between Ripley and Dallas was scripted (though never filmed) to illustrate how crewmembers dealt with long periods of abstinence. Several critics have compared the fecehugger’s exploits with male rape, and Dan O’Bannon, who wrote the original screenplay under the working title ‘Star Beast’, has said that the chestburster scene is a metaphor for the male fear of penetration, and that the oral invasion of Kane by the facehugger functions as payback for the many horror films in which sexually vulnerable women are attacked by male monsters. This would seem to be in keeping with the rest of the movie, which contrary to the (then) norm, boasts a strong female lead in Sigourney Weaver who would go on to star in The Year of Living Dangerously, Ghostbusters, Working Girl and a host (sorry!) of others. Even the Alien is female. To go one step further, it has been suggested that Alien is a movie ALL about rape, as the driving force behind the antagonist is reproduction by non-consensual means.
Alien certainly struck a nerve, perhaps tapping into the late-seventies zeitgeist which encouraged people to ask fundamental existential questions such as what is, and what could be. Alien was an unprecedented success, raking in an estimated $104 to $203 million from a measly $11 million budget and spawning three direct sequels, as well as a series of crossovers with the Predator franchise. In 2003 when 20th Century Fox released the Alien Quadrilogy DVD box, which included the original Alien plus the three sequels, it was decided that the box should also include alternate versions of all four films. The alternate version of Alien, labelled the ‘Director’s Cut,’ has been re-edited to restore several deleted scenes (such as one where, during her escape from the Nostromo, Ripley discovers Dallas and Brett cocooned) but omits several others meaning the Director’s Cut is actually shorter than the original. Scott explained, “The traditional definition of the term ‘Director’s Cut’ suggests the restoration of a director’s original vision, free of any creative limitations. Such is not the case with Alien: The Director’s Cut. It is a completely different beast.”
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The newly-dead facehugger that Ash autopsies was created using shellfish, oysters, and a sheep kidney, while the ‘egg tube’ section is actually a piece of sheep intestine and the ‘slime’ used on the aliens was K.Y. Jelly.