…and the quest to see everything

2012: “Sick of What?”

One of the trappings of sci-fi is its fetishization of metal or uncanny surfaces. The characters of Alien and its sequels float around in spaceships. The buildings of Blade Runner almost disallows us to see the ground they’re built on. The rock formations in Aliens seem uncanny in the violent way that they seem to have been forged. However, the most majestic images within Prometheus, Ridley Scott’s prequel to Alien, are the planets where they’re set. And it’s in the same sort of beautiful treatment that makes Elizabeth Shaw (Noomi Rapace) curious as to how the Earth and its populations have come into existence. I was at first disappointed by Prometheus being an Alien prequel, but it does bring, to a certain extent, the promise that its title has. This molten creation mythology and the lofty, almost unachievable ambitions that come with telling a story that touches on such a large scope.

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There are many areas of knowledge that I haven’t delved into that won’t let me answer or comment on the ramifications of life creation as depicted in this movie. So what interests me more is its characters and their diverse outlooks as we see in the crew of the titular Prometheus, a spaceship that’s leading a couple dozen crew members to a desert planet called LV-223. Elizabeth and her skinny hipster boyfriend Charlie Holloway (Logan Marshall-Green) are driven by curiosity and believe that the new planet has information about Earth and humanity’s conception. The mission director, Meredith Vickers (Charlize Theron) and her boss, the recently deceased Peter Weyland (Guy Pearce) just wants to set up a human colony in the new planet regardless of alien presence in that planet. And there’s a creepy android named David (Michael Fassbender) who, well, we’re not sure if he has deliberate intentions.

And those motivations transform as they discover new things on the planet, this voyage letting these characters face their gods and playing gods themselves in their many acts of creation and destruction. Theron, fresh from her acting hiatus, returns with unsympathetic roles in Mavis Gary in Young Adult and an evil queen in SWATH, and adds her rendition of Meredith Vickers to complete a hat trick. Here’s why. After learning that Charlie develops a mysterious illness, Meredith replies with the greatest line reading of ‘Sick of what?’ What a sociopath. Meredith is the third role in which Theron combines her beauty with narcissism. It’s a formula that I’m not sick of yet.

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Rapace, however, seems to have been cast in the leading role because of two things. Being a buzzy actress coming off the Swedish version of the Millennium trilogy probably helped her land plum roles. And playing strong woman like Lisbeth Salander, she’s expected to add something to a role who is the predecessor to the equally iconic Ellen Ripley. But here’s the problem. The script, written by Damon Lindelof’s, puts Charlie’s sickness in the same chain of events as Elizabeth’s abortion, the latter of which seems to be the scene which the moviemakers think is Elizabeth’s key scene. Yes, she pulls that scene off. But my key scene isn’t that one but the one where she confronts one of the Engineers, and that’s where her lines fall flat.

As I said earlier, the script is very eventful and Scott’s direction makes me believe everything it puts forth i.e., Elizabeth’s abortion, Michael Fassbender’s animated severed head. And maybe that’s one of the things I didn’t like about this – its many plot points and contrivances taking away from the simplicity, the horror and the humanity of the other movies set in Alien’s universe.

 

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