Oh, Alien is so
good.
Here’s a movie that takes its time in the setup, and it pays
huge dividends in the second and third acts. When the crew members of the space cargo ship Nostromo awaken to a distress call from
an alien world, we get to know them.
We get to know their ship and its layout. These things matter, because the Nostromo’s world is one that has been lived in for quite some time,
and we need to feel that it’s commonplace, that these are ordinary Joes doing
an ordinary job.
Because when Hell breaks loose, we’ve become keyed up and
ready. When people start dying, we
know who they are and have become invested in their fates. When the alien’s acid blood starts
eating through decking, we know what that means and can figure just how close
the ship is coming to catastrophic hull breach.
This leads me to wonder: why is this so hard? Why do so many filmmakers not seem to
understand that the key to narrative film, even genre-type horror and science
fiction, lies in the characters and their environment? If we don’t believe in the characters
and their world, we won’t believe in their predicaments or their heroism. If we don’t believe in the characters,
all we have is light and sound.
Alien believes in
its characters, and it makes us believe.
That’s what makes the film so effective, so scary, to this very
day. When many of the films we
know have passed out of memory, audiences will still watch Alien. If they’re
smart, so will filmmakers. This
film has much to teach them.