急，Alien 《异形》电影英语介绍或英文影评 10
推荐于2017-09-26 16:17:20 最佳答案
Every time I view Alien I can't help but to marvel with awe at this timeless masterpiece horror classic, the best of its genre ever made. Ridley Scott, with the help of breathtaking, brilliant Alien design from H.R. Giger, takes the viewer to the very end of the nightmare tunnel, the darkest recesses of the worst nightmare imaginable. This movie is made on a shoestring budget and the old fashioned way, with imagination and talent. The end result is the absolute epitome of horror that gets better with age. The Nostromo is a mining ship, a huge towing vessel, created with sets that were dark, claustrophobic and unforgiving. Most of these sets were made out of old airplane parts and the result was a spectacular achievement in horror, with flickering lights, gently swaying and clanking chains and dripping water, providing a sinister environment for a most unwelcome guest.
The crew and cast are a blue-collar lot of unknowns, but the chemistry and acting is superb, disturbing and believable, enhancing the absolutely real horror that awaits each one of them. There are no superheros here, as they were in no way prepared for what awaited them. They are scared, and rightfully so, and no one projects this better than Veronica Cartwright as Lambert, the very embodiment of a hysterical, sobbing woman scared out of her wits...and for very good reason. This is simply the scariest movie ever made, so enough niceness and on with the review!
Alien is truly awesome from beginning to end. The hands on effort and imagination of Scott Ridley is stunning, even in this day and age of special effects and CGI. The designs of Giger are wildly original, horrifically breathtaking and unforgettable. The editing by Terry Rawlings was crisp and parsimonious, making for a perfect storm of a horror flick. No one who has seen Alien will ever forget the dinner scene, one of the most dramatic even to be presented to an unwary viewer. Even the actors were unaware of what was coming down, maximizing the effect of the event. Memorable!
It is almost always dangerous to project an absolute about anything, but as far as I am concerned, everyone else can just flush their so-called monsters or baddasses down the sewer. [Green Goblin in Spiderman, yeah, right!] I'm sorry, there just can't be anything in reality or the human imagination that can top this creature that we barely get to see during most of this horror classic. The metaphorically rich design of this snarling, biting, chomping, eviscerating and head-banging nightmare from the bowels of hell can never be duplicated or topped. If you disagree with me, then you are wrong. If you think the Predator had a bad attitude, you will not believe the unchartable hostility that the Alien carries around as second nature. The Predator, as tough as he was is about the equivalent of the Pillsbury doughboy when compared to this “bad boy”. Ash said it best, “ It's structural perfection is only matched by its hostility...Perfect organism...unclouded by conscience, remorse, or delusions of morality.” Chilling.
Every time I revisit this movie, I must take pause to reflect on the enormous raw talent and creativity that made it possible. The ships are organic, almost alive as was terrifyingly demonstrated by the creepy, cavernous spaceship that surrounded an even creepier Space Jockey. I cannot say enough about the use of lighting and sound which complimented Goldsmith's wonderful musical score. Ridley Scott is a genius and his creativity with using ordinary objects and hands on attention to detail make this film what it is. The design of the Alien monster is a feat that will probably never be duplicated.
It’s always worth reminding yourself during a watching of ‘Alien’ that not all extra-terrestrials are quite as nasty as this one. When things start to get a bit scary, simply take a few deep breaths and think of E.T. Or Alf. Or Mork. Well, maybe not Mork, but you get the idea.
Deep in the bowels of space, the cargo ship Nostromo is on its way home to Earth. Routine mediocrity is the order of the day among the crew of seven, until what’s thought to be a distress signal is received from an unknown planet. Unfortunately, by the time they’ve realised it’s not a distress call at all but a warning, crew member Kane (John Hurt) has had his face latched onto by a faceless, spider-like space critter.
From then on it’s cack-your-slacks time as a freshly-impregnated Hurt gives birth (via an exploding stomach at mealtime) to a beast that will go on to pick off the crew of the Nostromo one by one, growing bigger and stronger with every victim.
Despite taking only second-billing in the cast list, Sigourney Weaver is the star of the piece as the soon-to-be iconic Ripley. Here, however, she’s a considerably less intimidating character than later on in the franchise, and her well-documented fondness for the word ‘bitch’ appears to be only in its early stages.
This is a much, much darker slice of sci-fi than anything ‘Star Wars’ or ‘Star Trek’ were throwing into the ring at around the same time, and in actual fact leans further towards the horror genre than anywhere else. Director Ridley Scott keeps things dark and moody at all times and, similarly to Steven Spielberg with ‘Jaws’, keeps glimpses of the monster to a minimum.
But perhaps the best thing about it is that, despite the subject matter, everything seems remarkably real. There are no Arnie-style quips to interrupt the movie’s tensest of moments, the characters’ behaviour under the circumstances seems true to life, and the plot is simple enough not to need any far-fetched twists in order to keep it on track.
Looking into space, you give free rein to your imagination -- How many stars are
there in the universe? What is it like to travel ten thousand light-years away
? Most important of all, do aliens really exist, and if positive, what do they
look like and how do they live their lives, and are they stealthily watching the
planet we live on – Are we alone?
Not only do these puzzles make us common people go crazy, they never cease to perplex all scientists around the world. UFOs are a perennial topic among these specialists and space lovers. Novels and cartoons featuring alien monsters are always on the best-selling lists. The Hollywood blockbuster “Star Wars” series
are the favorite of many movie fans. Given all these facts, there should be no
surprise that a documentary broadcasting a whole process of an autopsy of an alien took the entire world by storm in 1995. It’s reported that hundreds of TV
stations bid on the film that year and tens of millions of people watched the documentary and few uttered a word of questioning. After all these years of rowdiness, it turned out that the film, the autopsy of an alien, was all faked. It was nothing more than a scandal.
Things might not be that easy, though.
Hollywood is a fascinating world; it has the most sensitive feelers about the human conditions. The scandal about dissecting an alien that was rumored to have
been kept by the American military was recently made into a film titled Alien Autopsy. With great interest, I downloaded and watched the movie soon after it was available on the Internet. If you have been tortured by the above confusions,
or if you want to while away a boring afternoon with some fun movie, Alien Autopsy is exactly what you’ve been seeking for:
Depressed by their mishaps in their home country, and hoping to blaze a new path
, two British young men went to America, where they somehow had their hands on a
film which was said to have been kept for more than 50 years by an old man. The film actually recorded an entire process of the American military dissecting an alien and was watched on the spot by one of the two friends. Excited by their
discovery, they found a sponsor who happened to be a believer of aliens. They
bought the film and brought it back to British, only to be told the film had been badly destroyed since the owner brought it to light, and that the hope of regain the data was razor thin. Desperately worried that the sponsor would not buy
their story, the two lads decided to gamble on their luck and gathered a few friends of theirs to “artificially make” an alien by following what the one lad saw on the film. And they actually made it. Then they almost had it done: The
sponsor swallowed the story hook line and sinker, as did the later pursuers, TV
journalists around the world, all other media. The hand-made film even caught the attention of the American military, which later somehow served to cover the whole story up. The group made a decent profit by selling “the most shocking discovery in the human history” to the rest of the world. When their story was being questioned, they even hired a tramp in Hollywood to cover the lie, and the
tramp turned out to be a former Hollywood movie star who had stopped playing for
40 years. But there’s more to it than meets the eye – after the whole thing
was disclosed, that eccentric-looking old jerk, the film-fixing expert, came to
the two hoaxers telling them the destroyed original was mostly fixed – It was true! But what could they do now? The original was then buried deeply somewhere
. Maybe someday some adventurer will have the luck and bring it to light again.
The movie is made in a slight humorous way, enough to give you a good time in this burning hot summer season. And the performance of all the actors is terrific
. If I have to point to some flaw of it, I would single out the accent of their
English: typical British English that sounds too “tropical” to me.
When Alien was first released during the summer movie season of 1979, science fiction films were all the rage. The trend had been started two years earlier with the unexpected box office success of Star Wars, and, by 1979, anything even remotely connected with space and/or aliens was guaranteed to raise some interest. Two highly anticipated efforts - the big-screen debut of Star Trek (Star Trek: The Motion Picture) and the Star Wars sequel (The Empire Strikes Back) - both of which were within a year of their opening dates, further invigorated the atmosphere. It was into this climate that Alien was unleashed upon the general public.
The film's memorable tag line, "In space, no one can hear you scream", promised a far different experience than the popcorn entertainment of Star Wars or the kinder, gentler saga of Close Encounters of the Third Kind. In fact, Alien was as much horror as it was science fiction. In fact, one could make a convincing argument that there is more synergy between this picture and John Carpenter's Halloween than between Alien and any of the other umpteen sci-fi movies invading movie theaters at the time. Alien is about shocks and chills and thrills, not space battles. Where Star Wars has light sabers and blasters, Alien has intense atmosphere.
In many ways, Alien was the first of a kind. True - it wasn't the first space movie to feature a homicidal monster, nor was it the first time a group of characters were hunted down one-by-one in dark, dank spaces. However, this "haunted house in space" film was one of the first to effectively cross-pollinate these two genres. Alien became the blueprint for dozens of rip-offs and three sequels. With one exception (James Cameron's superior Aliens, which substituted all-out action for creepy horror), none has come close to what the filmmakers attained with the 1979 feature.
The director of Alien is British-born Ridley Scott, who was stepping behind the camera for only the second time (his feature debut was 1977's The Duellists). Along with 1982's Blade Runner, Alien cemented Scott as a filmmaker of great promise and ability. These days, whenever the director releases a new film, reviewers will inevitably mention Alien, Blade Runner, or both somewhere within the text of their write-up.
In addition to blending graphic horror with science fiction, Alien has another distinction - it is one of the first films to feature a female action hero. Even today, on those rare occasions when a woman takes the lead in an action/adventure movie, she is typically measured up to Sigourney Weaver's Ellen Ripley. In actuality, much of Ripley's reputation is based on events in Aliens, where she strikes back against the creatures with a vengeance. In Alien, Ripley is essentially just one of several crew members - until the end, when she's the last one standing (not counting Jones the cat). Having Ripley as the hero of Alien is an interesting twist. In 1979, viewers automatically expected that role to be filled by Tom Skerritt - not only because he had top billing, but because he is a man.
Alien is a perfect example of a director gradually elevating the level of energy and anticipation in a motion picture. The way Scott meticulously raises the sense of menace and tension is worthy of Hitchcock. Like Steven Spielberg's great thriller Jaws, this atmosphere-soaked production relies on the viewer's imagination to enhance the alien's nightmarishness. Scott carefully restricts how much we see of the creature - there's enough to provide our minds with horrifying images, but not so much that the illusion is spoiled. It's interesting to note that a scene featuring a full view of the alien was removed from the final cut (that clip is available on the laserdisc and DVD special editions of the movie, for anyone interested in seeing it).
Alien begins slowly and calmly by introducing us to the crew of the Nostromo, a commercial towing space vehicle on a return course for Earth. They number seven - the relatively laid-back captain, Dallas (Skerritt); Ripley (Weaver), the ship's warrant officer; Lambert (Veronica Cartwright), the ship's highly strung navigator; science officer Ash (Ian Holm), who seems to have ice water for blood; Kane (John Hurt), who is possessed of a gallows humor; and grunts Brett (Harry Dean Stanton) and Parker (Yaphet Kotto), who spend their time grumbling about not getting full bonuses. During the film's early scenes, there's a sense of ordinariness about the crew's activities. For them, this is drudgery - they're looking forward to getting home and collecting their money. The dangers of space are far from their minds, and, as a result, from ours. Those who believe the beginning of Alien is dull and plodding are missing the point. The somewhat lethargic pace is necessary for the rest of the movie to work as effectively as it does.
After receiving a possible distress signal from a seemingly uninhabited planet, Dallas, Kane, and Lambert head down to investigate. On the inhospitable surface, they come across what appears to be a downed space ship. Inside, they find a chamber full of egg-like objects. As Kane is examining one, it opens and a leathery creature emerges, launches itself at Kane, punches a hole through his protective helmet, and forces a proboscis down his throat. Dallas and Lambert bring the unconscious man back to the ship, where Ripley refuses them admittance, quoting quarantine regulations. Ash, however, opens a hatch to let them in. Kane is taken to the medical lab, where Ash determines that it would be too dangerous for the life form to be removed from his face. Eventually, however, it falls off on its own, apparently dead. Kane returns to consciousness and all seems to be well.
Then comes the fateful dinner, which, at the time of Alien's release, was the most talked about scene in the movie. The normal mealtime chit-chat of the crew is interrupted when Kane begins gagging and choking. Before anyone can help him, a creature bursts through his chest and scampers into the air ducts, leaving behind Kane's bloody, dead husk. The rest of the crew mounts a search through the Nostromo's dark, claustrophobic passageways, with the alien picking them off one-by-one. And, with each new victim, it grows larger and stronger.
Alien contains its fair share of genuine scares. These aren't mere "boo" moments, where something benign jumps out of the shadows accompanied by a loud noise and a musical crescendo, but legitimate shocks. The first occurs when the face-hugger leaps out of the egg and attaches itself to Kane. The second is when the alien explodes through Kane's chest. Then, during the hunt for the alien, there are numerous others. In fact, the level of suspense during the film's final 30 minutes becomes almost unbearable. What started as a seemingly low-key motion picture turns into a real white-knuckler.
Despite not featuring any big names, the cast for Alien is comprised of credible actors, including two --Ian Holm and John Hurt - who have won numerous critical plaudits and earned Oscar nominations (Holm for Chariots of Fire; Hurt for The Elephant Man and Midnight Express). Ironically, Sigourney Weaver, who would go on to be the most successful of the Alien stars, arguably gives the least impressive performance. Weaver is an uneven actress, with strengths in comedy and action, but weaknesses in drama. In Alien, she has a tendency to turn strident and over-the-top any time the script requires that Ripley becomes emotive. It is worth noting that, despite similar deficiencies in 1985's Aliens, Weaver was given a Best Actress Academy Award nomination for that movie. (She then received a second, deserved nomination for 1989's Gorillas in the Mist.)
The real stars of Alien are not the humans, however. They are the production design of Michael Seymour and the alien creature design of H.R. Giger. Seymour's work fashions the perfect playground for the creature - a maze of dark, nightmarish passages that emphasize the sense of claustrophobia and mounting tension. Giger's creation is one of unparalleled terror, and represents one of the most memorable visions ever to appear in a science fiction movie. With its metallic, reptilian body and rows of razor-sharp teeth dripping saliva, few cinematic images can equal the alien for horrific impact. Filmmakers of Alien copycat movies have worked unsuccessfully to develop something as striking as Giger's design. Not surprisingly, the ones that have been the most successful are those that have closely mimicked the Alien creature.
Alien was so successful at the box office that a sequel was almost mandatory (although it took six years for Aliens to reach the screen). The Alien series, which currently numbers four movies, went on to become 20th Century Fox's second most lucrative science fiction franchise. In its own way, Alien was as influential as Star Wars, proving that in the '70s/'80s wave of sci-fi, there was room for darker, grittier stories than the ones set a long time ago in a galaxy far, far away. Alien may not have been totally original in its approach, but the film's widespread acceptance made it a blueprint for an entire sub-genre.