Archive for March 16th, 2016


© 2016 by James Clark

I think it’s a big mistake to suppose that the film title, Alien (1979), pertains solely with regard to the ugly killer of most of the crew of a spaceship. To opt for that simplism is to underestimate the sensibility of helmsman, Ridley Scott. Not that seeing Scott at his best is an easy task, however. Fortunately, he sprays about quite a lot of trailblazing self-characterization—often wildly self-contradictory—ample enough to allow those of us, who have been assured that he’s got the right stuff, to wade past a façade of “professionalism” which brazens out an homage to all the journeymen involved in cash-flow (and nothing much else), on the order of The Martian (2015). Scott generously shares with us not only his life-long commitment to design craft but also his recognition that such a field is very crowded with brilliant practitioners, necessitating relentless and ruthless competitive assertions—assertions (he hearkening to his ongoing TV ad work as in the spirit of Mad Men) not above outrageous bullshit. One of his unforgettable remarks is, “I try to hit the truth.” Another of his unforgettable remarks is that, whereas when he began his film career (Alien being near the beginning) there was a 50/50 confrontation between the watchable and the unwatchable, now it’s down to watchable 3%. (Can you imagine he’d include The Martian in the league of 3%?) A third declaration of importance to us here is, “I’m more intrigued by human relations” [than typical suspense yarns].

Getting back to the good old days of 50/50, after a long winning streak of unprecedented, dazzling Super Bowl commercials (the pilot of the craft in Alien being outfitted with that magic NFL word, Dallas; Dallas also being an assassination site) and the like, our guide was brought aboard a vehicle stemming from screenwriter, Dan O’Bannon and Surrealist painter, H.R. Giger, who met during the abortive Alejandro Jodorovsky run-up to the sci-fi property, Dune. Among those considered for directorial duties for Alien was Robert Aldrich who, with screenwriter, A.I. Bezzerides, had briefly, during the output of Kiss Me Deadly, showed a penchant for “human relations” (or was the real work there that of Bezzerides?). But, elbows in play no doubt, it was Scott who convinced everyone who mattered that he could do the job, a job considerably more complex than giving customers a good scare. (more…)

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