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A benchmark in the science fiction genre, 1979's Alien is a simple "Jaws in Space" idea that comes to life through the phenomenal filmmaking prowess of legendary filmmaker Ridley Scott. Alien arrived two years after the first Star Wars, serving as a hard-hitting reminder that not all journeys through space are heroic, exciting flights of fantasy. And, besides being a top-notch depiction of space's mundane disposition, Alien is one of the most hair-raising horror films of its era. In fact, this is not strictly a science fiction movie - it's more of a skilful exercise in sheer visceral terror that happens to take place in a futuristic space setting.
While en route back to Earth, the seven-person crew onboard the commercial vessel known as the Nostromo is prematurely awoken from cryogenic stasis. The ship's central computer picks up a transmission of mysterious origins coming from a nearby, unsurveyed planet, and the crew, led by Captain Dallas (Tom Skerritt), are summoned to investigate. But when they land on the desolate planet, eggs containing alien organisms are discovered, one of which latches onto the face of the ship's executive officer, Kane (John Hurt), and cannot be removed. With no choice but to bring the life-form back onto the Nostromo, a deadly alien soon breaks loose, taking up residence within the labyrinthine corridors of the vast ship and hunting the crew.
Alien is synonymous with the iconic "chest-bursting scene" that remains an enduring moment in cinematic history, but it does not occur until halfway through the movie. The build-up makes this film so special - we get to know the crew, and such care towards character development augments the sense of tension and peril when the monster is introduced. It helps that Dan O'Bannon's script is so intelligent. Conversations between the characters are engaging and have a naturalistic flow, which builds the impression that these people are real space truckers with lives back home. Furthermore, O'Bannon introduces relevant themes about corporate greed, as the possibility of discovering and studying an otherworldly organism is deemed more important than human life.
In horror films, protagonists are commonly trapped in a claustrophobic space, often a haunted house. Of course, characters can escape haunted houses if they are smart enough, so writers usually invoke supernatural reasons to keep them trapped. But such an approach is unnecessary for Alien, as it's set onboard a spaceship in the empty vacuum of space. It's a vast setting, but there is no escape, and the alien creature can lurk in any nook, cranny or shadow. This increases the sense of claustrophobia, dread and, most terrifyingly, unpredictability. Director Ridley Scott plays on this several times, occasionally lulling us into a false sense of security before unleashing something on the unwitting crew. Scott's directorial approach emphasises tension and atmosphere, taking heed of the "less is more" adage that worked so well for Steven Spielberg's Jaws. All glimpses of the alien probably add up to around 5 or 10 minutes of screen time, and thus, each sighting is scary. Alien is often branded as too slow in this day and age, and admittedly, this criticism is justified to a certain extent. While the slowness does make the movie as enthralling and suspenseful as it is at times, certain sections need tightening, especially when it's obvious that a long, slow patch will eventually yield a xenomorph attack. Plus, there are several pointlessly slow shots examining ship equipment at the film's beginning. For the most part, Alien works miraculously well, but a tighter cut would yield a superior picture.
Alien is almost unrivalled in its visceral horror. We see gory "torture porn" movies so often, yet the gore works here because of how sparingly it's used. The chest-bursting scene is so sudden and tragic, and the fact that this violence arrives an hour into the movie - when we have grown to care about the characters - makes it even more unnerving. Jerry Goldsmith's unobtrusive score is a perfect fit for Scott's visuals. Music is used sparingly, subtly weaving its way in and out of the film to become an extension of the experience. Best of all, Alien is no less effective when devoid of music - in fact, the periods of silence constitute some of the film's most riveting scenes. Most '70s fright movies look dated in the 21st Century (even The Exorcist has started to lose its original punch), but time has not wearied Alien to any degree.
Three decades on, Alien's visual effects and sets remain immaculate. The xenomorph, in particular, is visual perfection. Designed by Swiss surrealist H.R. Giger, the creature is meticulously detailed and terrifyingly inhuman, with the design and special effects confidently standing the test of time. In contrast to the cheesy alien designs of B-grade 1950s cinema, the xenomorph genuinely looks like an otherworldly creature that could plausibly exist. Alien is also a solid demonstration of why practical effects are more effective than CGI. The extensive, exceptionally detailed sets and models look stunning, and the alien itself has an actual screen presence since it was portrayed by a stuntman in a suit. The face-hugger, meanwhile, seems to be alive, and the egg from which it emerges looks remarkably organic. A few effects are admittedly rough-around-the-edges (the creature looks almost comical when it flees across the table after the chest-bursting moment), but there are far more hits than misses.
Yet another of Alien's myriad of assets is the cast. This is a terrific example of ensemble acting, as each performer is recognisable and distinctive. There are no bland faces without names here, which raises the stakes since you do not want to see any of these established characters get killed. As the iconic Ellen Ripley, Sigourney Weaver is pitch-perfect. Inhabiting the role with effortless abandon, Weaver's performance presents Ripley as a woman of sense and resourcefulness who still seems fundamentally human. Also excellent is Tom Skerritt in the role of Captain Dallas. Skerritt's duality is especially brilliant here; Dallas initially seems strong and charming, but he changes once the alien is introduced. Meanwhile, Ian Holm is brilliantly detached as science officer Ash, and John Hurt consistently impresses as Kane. Yaphet Kotto, Harry Dean Stanton and Veronica Cartwright are also great.
Alien is a movie that grows on you. This reviewer found it stilted and boring at age 13, but I've grown to love it after several more viewings in the ensuing years. It's an intoxicating experience that immerses you into Scott's cinematic spell and refuses to loosen its tight grasp until the end credits begin to roll. For amateur filmmakers, Alien serves as a wonderful lesson in tension - at certain times, it is even difficult to take a breath. This is a quintessential watch for film buffs, sci-fi enthusiasts and anyone who just likes good moviemaking.
8.9/10
