Left Field Cinema

WARNING: Contains Spoilers

Underdogs of cinema. Belittled on release, marginalised through their re-releases, they have been unfairly dismissed, by critics and audiences. Most major franchises of film have an entry which does not necessarily live up to the expectations created by their predecessors; these entries however may still be superior films in their own right. The Alien series is no exception. Alien 3 is a pleasure to watch, either a crusty VHS pan scan 1993 edition on a dusty CRT television, or crisp 2003 special extended wide screen DVD on a HiDef LCD - the essentials are still present and correct. The extended version is a superior cut of the film, the extra/alternative sequences rid the audience of some prior confusion as to which character is which, and create a much richer atmosphere. The new opening scene features a wider establishing shot of the penal colony and creates a sense of location which was previously lacking in the ’93 theatrical release. However the ’93 release still stands on its own merits.

The production was troubled, the film however was not. Wide spread condemnation of the film had began long before its release, different scripts were in production and different directors were attached before finally settling on first timer David Fincher. Dismissing the superficial attacks made on the film prior to its release, Alien 3 was still savagely attacked by critics upon release. The numerous negative reviews emerged as a result of one of five major factors. One, most of the major characters from Aliens are brutally killed within the opening credits. Two, they downsized the action budget from Aliens. Three, the film is not scary. Four, that the characters appear too similar. Five that it’s too depressing.

To counter: firstly, there were no survivors from Alien to Aliens other than Ellen Ripley and a cat and no-one complained, the series had never been about its supporting characters it was always the tale of Ellen Ripley, her journey is at the centre of the first three films. Although James Cameron would have probably preferred to continue the Ripley/Hicks/Bishop/Newt dynamic the producers and Fincher felt differently and the logic is sound. Not just move away from Cameron’s second instalment but completely destroy whatever hope had been built up, otherwise Alien 3 would quite possibly become a direct extension of Aliens.

Secondly, a common complaint about sequels of this nature is the almost inevitable increase in violence, action, body count and a decrease in character development. Here is a film that takes a brave back pace by stripping the action back down to a single Alien instead of simply mindlessly increasing their numbers to the millions, yet still viewers complained, thus proving in making sequels there is no correct route to take.

Third: Alien is a thriller/horror, Aliens changed and became an action film. Alien 3 takes its development no less seriously and shifts position again to something different. Sequels are not obligated to be genre sensitive, whether the film intended to scare or not, there is no pre-requisite. The film examines theological and philosophical issues, and perpetuates a central message that even those who society deems deplorable, inhumane, and immoral, can stand up for what’s right. Fight for it, and even die for it. In their darkest hours, they to can exhibit humanity, morals and righteousness. Fourth: the filmmakers have given their audience some credit and assumed that the cinema going public will concentrate on the film rather than their popcorn and will be able to differentiate between characters, despite their obvious physical similarities (predominantly British with shaved heads) the producers and casting agents have gone to great trouble to give a wide range in age and ethnicity in order for the audience to distinguish who is who. Simply put, if the audience pays attention then who’s who is a simple concept to grasp. As stated previously this is one area which is vastly improved by the 2003 cut of the film.

Finally: depressing? It is the only film in the series where in the last act the central characters decide to take on the alien and the company instead of attempting escape, it is a radical reversal of tactics never seen before or since in the franchise, offensive instead of defensive, and it is this conceit that contributes to Alien 3 achieving the most uplifting moments in an Alien film. Rather than merely dying for nothing, the convicts choose to die for something.

Alien 3 is also tarnished by the fourth instalment in the series Alien: Resurrection, which ruined the near perfect ending achieved in Alien 3. The climax is in a word, superb, the emotions involved with Alien 3 are heightened and varied compared with the simplicity of flight or fight which Alien and Aliens examined. There is courage, grief, loss, lust there is redemption, nobility, trauma, and pain. Some of these elements were present in the previous films, but due to the kinetic pace of Aliens none of these aspects were examined in any depth. Alien 3 has a tapestry of interesting and often complex characters, Golic, the maniac; Aaron’s, incompetent and not doing the right thing, but not doing it for the right reasons; Dillion, religious, tempted, leader of the men who never wanted to lead; Clemmons, haunted, redemptive, at ease in his surroundings; and Ripley: grieving, depressed, suicidal, discombobulated and for the first time - defeated. One of the finest performances from Weaver, once again proving that Ellen Ripley will always be her greatest role. Ripley is beaten from the start, she is going to die, it is a central point of the film “You’re all going to die, the only question is; how you check out? Do you want it on your feet or on your fucking knees begging” Are you going to sit back and let a company man shoot you in the head while you beg for mercy? Or are you going get your guts ripped open whilst getting one over the company who indirectly caused your death in the first place? Not much of a choice, but a choice made with utter conviction. Ripley’s final sacrifice, the alien has been in her life for so long she can’t remember anything else. A queen is inside her, meaning the cycle of violence and death will start over again, so she destroys herself and the new queen, denying the company their prize. Coming perfectly full circle, the film ends on the original lonely log entry made by Ripley at the end of Alien “last survivor of the Nostromo, signing off” and what more could the audience ask from such a selfless hero? Alien: Resurrection was the answer.

David Fincher’s début is a solid film. Although when stood next to the sheer might of Se7en, Fight Club and Zodiac it fades by comparison. However there is still much to be admired here, Elliot Goldenthal’s score is the most complex, passionate and daring of the Alien scores. Set design, costume, and technology all look amazing. Cinematography and edits are original and well constructed. Neither Cameron or Scott had attempted shots like the Alien POV, or edits like the quadruple dissolve during Hicks and Newt’s funeral.

It is a shame there was overwhelming company interference and many problems with the production (filming without a complete script can’t be easy) If these problems hadn’t occurred Alien 3 could have achieved more than the sum of its parts. Counter to this argument is the notion that the positive aspects of Alien 3 were born out of adversity and had the production not been troubled then the moments of originality would have been lost, never surfacing through the cracks of compromise.

M.Dawson