- Genre: Sci-Fi, Adventure
- Director: Ridley Scott
- Writers: Jon Spaihts and Damon Lindelof
- Stars Noomi Rapace, Logan Marshall-Green, Charlize Theron, Michael Fassbender
To understand the reason for Ridley Scott’s directorial involvement with the film “Prometheus,” based on the Greek legend of a “champion of mankind” who “stole fire from Zeus and gave it to mortals,” we have to do a little time travel.
Back to 1979 when a mere eleven million dollars allowed Ridley Scott and Austrian horrotica artist Hans Rudi Giger to make the wonderful “Alien.” The film was a searing milestone in modern sci-fi-horror entertainment because of how it melded the alluringly sexualised xenomorph of the title with the chest-busting sensation that what we take for granted, the people we work with, the job we think we’re doing, the reason we’re alive and productive, isn’t really what’s going on. There’s a secondary agenda behind the everyday, the mundane, in an Alien film; everything is unhinged, conspiratorial. This is the good bit about a classic Ridley Scott film, that You The People (Joe and Jane Public) are not actually told what the Corporations are really up to; that element of potential revelation. And that’s what this film should have been; the ultimate corporate revelation of our origins.
There was a key moment in the original “Alien” film when the human crew of the Nostromo landed on planetoid LV-426 to answer a distress signal, discovered a gigantic “pilot” in a derelict spaceship; a birthing hole burst out of his chest. This should have been the point where the new film, “Prometheus,” ended and “Alien” (1979) began.
But of course, that’s not what happens in this film.
Nor could it. There was absolutely no way Ridley Scott could have ended “Prometheus” with the distress signal blaring into space from LV-426. For starters “Prometheus,” the eponymous spaceship, lands on LV-223. And there are, at least, five alien spaceship hangars arranged in a line. So, already it has nothing to do with the original “Alien.” Nothing at all.
“Man was made in God’s image,” remembering that phrase will surely take you a long way when it comes to your turn to go to the cinema and enjoy this film. And if you treat it as a totally unique stand-alone film, you will really enjoy it. Sure, the beginning seems overly slow, the ending seems overly rushed. But it’s got its heart in the right place.
I absolutely love the use of music and there were some lovely subsonic sound effects.
I adore the cleverness and the affected humour of David (Michael Fassbender).
I adore the rather grungy Captain vs Vickers “relationship.”
I adore the fact that some rather interesting narrative twists take place, some proper interesting stuff.
And to season that particular dish, I’m going to reference Ridley Scott’s other classic film “Blade Runner” (1982). In this scene Roy Batty (a Nexus 6 combat model, a replicant; an organic robot) meets his maker Eldon Tyrell. He says: “I want more life, fucker,” those are the words he uses. And good old Eldon knows exactly what he means, who doesn’t want more life? Who doesn’t want to live forever? And if we could, wouldn’t we shoot ourselves off into space to find the Key To Everlasting Life.
Eldon replies: “The flame that burns twice as brightly burns half as long. And you have burned so very very brightly, Roy,” this just before he gets his skull crushed by his “prodigal son.”
The big question here is, is it valid to have marketed this film as a prequel to “Alien?”
The writers themselves in interviews prior to the release of the film, have suggested this on a number of occasions, in the generic sense that, “If you remember ‘Alien,’ good for you,” or as old Eldon would have said, “Revel in your moment.”
Is it good, though, “Prometheus?”
It’s not bad, not bad at all. As I take-my-brain-out and enjoy-some-cheesy-movie-minutes, yeah. I’d watch it again, on DVD, when it comes out. Sure… but, call me jaded or blinkered or just too used to all the cynical trappings of the spangly Hollywood myth-making machine, I couldn’t see where A HUNDRED AND THIRTY MILLION DOLLARS went, to be honest.