Director(s)	Ridley Scott
Principal Cast	Sigourney Weaver as Ripley Tom Skerritt as Dallas Ian Holm as Ash Veronica Cartwright as Lambert Yaphet Kotto as Parker Harry Dean Stanton as Brett John Hurt as Kane Bolaji Badejo as the Alien
Release Date	1979
Language(s)	English
Running Time	117 minutes

It’s hard writing a review about a movie that’s gotten as much love and adoration as Ridley Scott’s Alien, but I’ll try my best to persuade the few of you out there who haven’t seen it to give this masterpiece a go around. The story of a small commercial space crew who receive orders to investigate an alien spaceship and who subsequently come into contract with a hostile alien species seems like a simple narrative meant to provoke fear.  Like the release poster says,” In space no one can hear you scream.” It seems like a no brainer as to why such a story could be so scary. However, a slew of Alien based knockoffs and even some of the franchise sequels indicate that its not just a simple and well executed narrative that makes this movie from the 70’s so enduring as classic in both the horror and science-fiction genres. Underneath the narrative is a hefty amount of subtext, painstakingly interwoven in the movie through the use of immaculate creature designs, pristine lighting, top notch set design, and a soundtrack that’s perfectly suited to transporting the audience into the affective territory of fear.

From the moment the title screen opens, the movie makes it clear that there’s more than meets the eye. As letters slowly appear on the screen spelling out the title, Alien, the camera slowly pans across an oblong object instead of a traditional circle object which would be more inline with what we’d expect from space – planets, stars, and the like.

This egg like shape sets the stage for the thematic meat at the center of the story – sexuality and our relationship to it. From this egg like shape the camera slowly moves through the Nostromo, a commercial space vehicle with a crew deep in sleep. However, after a distress  signal is received from an outside source the ship’s computer, aptly named Mother, sends a signal to wake the crew up. The camera then moves to the crew as they wake up and emerge from a series of oblong, egg-shaped pods.

After giving us a few moments to get to know the members of the crew the movie quickly moves to getting them to respond to the signal. A small subset of the crew is led by Kane, an executive officer, to investigate the source of the signal and to determine if anyone needs help.  Unfortunately, for the members of the Nostromo, Kane discovers an oblong egg-shaped object with a cross symbol (religious heresy at its finest) in the middle, that shoots out an alien species which immediately latches onto his body.

Despite quarantine protocol dictating that he be left behind and not allowed back onto the ship Ash, the ship’s scientist, overrules Ripley’s, the warrant officer, command to follow the same and allows the expedition crew and a grievously injured Kane back aboard. This subsumption of authority is quickly brushed aside by the rest of the crew due to Kane’s condition, but it sets up the “war of the sexes” power dynamic that guides the rest of the movie. Ripley, one of the two female crewmates, has her orders ignored to save a crewmate despite orders. Kane, a male, is then shown with the “face hugger” alien aptly covering his face. With its phallic tail coiling around Kane’s neck and a tube running from its body down his throat, the scene utilizes sexuality – particularly a male on male oral rape scene- as a method of genuinely scaring the audience.

The deviant sexuality is literally weaponized and works in horrifying because it A- depicts rape and B- masks that depiction through an alien organism that pulsates and oozes in an incomprehensible way. As the alien creature matures throughout the movie, it takes on more and more pronounced male and female sexual characteristics, transforming into an amalgamation of deviant sexuality that actively violates and threatens the crewmembers.  This relationship to sexuality is developed by other characters’ attempts at reining in control over the situation and their attempts at fighting back the alien. Like the face hugger scene, none of these sexually violent images are overt but rather work on the level of suggestion and repetition. Eggs, phallic shaped objects, liquids gushing and oozing, penetration, and the like all work to trigger off a sub-conscious response that plays off our fears of sexuality, violence, and the forces inner workings. H.R. Giger’s aesthetic choices are what turn Alien from a superb thriller, into a deeply thought-provoking look at the way sexuality is coded and linked to power. None of the images overtly force us to think about things in this way, but their suggestive power combined with the setup of the plot makes those connections operate in the back of our minds leading to some genuinely frightening moments.

The story also does a great job of positioning the Alien in relation to humanity/animality by constantly juxtaposing the creature with both the human crewmates and the crew’s cat, Jones. At first glance, Jones can be written off as a minor character whose only purpose is to get crewmates put into precarious situation. However, a closer reading reveals that compared to the Alien’s overtly sexual and violent predatory practices, Jones is docile, restrained, and something that crew actively wants to protect. Jones isn’t just a cat. Jones is the inverse to the Alien – a sexuality that can be understood and controlled in a sense. The fact that the cat conveniently appears in so many scenes where the Alien pops up isn’t a coincidence as much as it is Scott’s attempts at making the audience piece together the connections. This becomes even more pronounced in the last act of the movie which does the best job of visually depicting the importance of Jones as a counterbalance.

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Put together, this is why the Alien creature (the Xenomorph) works so well. It plays off our natural fears of sexual violence through its increasingly disturbing amalgamation of female and male sexuality. Its attempts at gaining control and overpowering the crewmates ties back into the earlier instantiation of sexualized power hierarchies and depictions of agency. It’s juxtaposition against Jones highlights just how much about it we don’t know, understand, and are unable to control. As a result, the creature works perfectly as both a thematic and visual depiction of true horror.

Obviously, none of this sub-text would be relevant if the movie itself did not work on the level of its plot. The simplicity of the overarching narrative lets all the thematic elements become part of the stories identity as opposed to feeling like some postmodern meaning soup. Every element plays into one another and is highlighted through Scott’s impeccable visual storytelling as opposed to preaching to the audience through boring dialogue. From the way the spaceship looks all dark and dilapidated to how the alien planet looks musty, cloudy, and damp its clear a lot of effort went into creating a believable outer space. It’s astounding to think this movie was made back in 1979 because it holds up incredibly well even now. Outside of the superb aesthetic direction and wholly realistic looking set pieces, the movie excels in its use of lighting. Scott knows just how much to show you and the flickering light effects in the latter portions of the movie do a great job of exemplifying just how hidden and nefarious the Alien really is. It’s not that he’s afraid to show you the creature. Not at all. Trust me – you get to see every disgusting and skin crawling aspect of it by the end of the movie. It’s more that he wants you to be genuinely unnerved by it. He wants you to be staring at the creature in plain sight and not know that you’re looking at it. What’s scarier than not knowing you’re looking at the monster the whole time? Because the dialogue is so witty and does a great job of establishing the characters’ personalities and motivations it becomes hard to not become attached to the crew and place yourselves in their shoes. That’s why the revelation that you, like the crew, were incapable of finding the monster first is chilling. Because you would’ve died to.

Speaking of the crew members, every single member of the cast delivers a performance that has you wholeheartedly believe that they’re members of an actual space expedition and that they’re on another day on the job. From the constant bickering about payment to the lively banter between them, its easy to forget that everyone’s acting.  Sigourney Weaver is great as the lead and manages to give the warrant officer equal helpings of raw humanity and genuine badassery. She can quickly go from panicked in the face of the Xenomorph to eager and ready to destroy it. Without her walking through some tricky emotional tightropes with precision, the emotional and thematic weight of the movie would not hit nearly as hard. I love Holm’s performance as Ash and think he does a great job at both acting as a foil to Weaver and at carrying along some fairly important story beats. Kotto and Stanton’s bantering is a genuine treat to watch near the start of the movie and provides the audience with much needed levity before things actually start going off the rocker.

From the script to the acting to the set design to everything in between, Alien never manages to disappoint. This is truly one of the movies I think you could call “perfect” and not get an eyeroll from everyone in the room. It’s a masterwork in the Science-Fiction and Horror genres and its ubiquity in pop culture (I’m looking at you Avengers:Infinity War) necessitate a watch from movie fans in general. It’s scary, thought provoking, and equal parts beautiful and disgusting to watch.

Report Card

TLDR	If you’re a fan of movies, you owe it to yourself to watch Alien. Rarely is there a movie that so perfectly manages to progress a message through its narrative, visual and sound design, and character progression. Despite being made in 1979, the movie looks, feels, and operates better than most things coming out now. The story of a space crew trying to fight for their lives against a horrifying alien is entertaining enough, but the treasure trove of subtext that lies beneath each and every frame make this a movie worth re-watching and studying. There’s so much more I could gush over , but I really do think some things are better experienced than explained. That’s a lesson Alien taught me well.
Rating	10/10
Grade	A+

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