Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
The American Film Institute lists Ridley Scott's 1979 film Alien as the seventh greatest science-fiction film of all time. Few who have seen the masterpiece of mood and massacre would argue with the praise. Except, maybe, Ridley Scott.
"There are certain things that bug him from the old film," reveals Steven Messing, the concept artist and visual effects art director for Scott's latest film Prometheus. The director's misgivings surprised Messing, a fan of Alien who has worked with Scott on several of the director's films, including design-heavy epics like Avatar, Alice in Wonderland and the upcoming OZ: The Great and Powerful. "It was wild to be in these conversations with him. Thirty years ago, because of budgetary constraints, he had to go with what they built on set for a lot of things. He never really got a chance to polish those designs."
Scott, who started as a production designer in the UK before he began a directing career, was drawn back into the Alien universe, in part, thanks to the design-friendly world of sci-fi. Messing was brought on early in the process, before the movie had funding, before the film had a name ("they called it different things at different times…. Paradise, Tomb of the Gods….") and even before there was a finished script. Messing papered Scott's office with art, catching him up on the last thirty years of cinematic science fiction and exploring the alien environments touched upon in Alien. Once ideas started flowing, Scott even joined in on the action. "Ridley would come and draw with us, which was unique. I had never had a director sit down, literally next to me, and draw ideas at the same time. He has very good drafting skills. He storyboards all his own films."
The stunning creature and architecture designs of the original '70s Alien were born from the imagination of H.R. Giger, and while the surrealist artist's work was an inspiration to Messing, Scott was apparently "was very adamant about not doing the same thing." "There is a lot of very organic design work that Giger did," Messing explains. "If you look, there are similar sets, like the pilot chamber set in our film. It's from the same world, but it's not the same exact set. It's a little more mechanical. The filigree on it is a bit cleaner and less organic. A lot of those changes in aesthetic…Ridley would call the old Giger stuff porkchops."
According to Messing, even the original film's iconic imagery could be improved through Prometheus' modern technology and afforded design time. "He was never that much in love with the facehugger. He thought it was goofy and never really liked it." A set in Prometheus, the epically scaled "pilot chamber" seen in the trailers, takes its cues from a location in Alien where a mysterious creature (dubbed the Space Jockey) was found sitting in a humongous chair. "There's the flooring… I spent a lot of time redesigning that whole set. He hated it because they basically took a bunch of plumbing and pipes that they found and laid it out on the ground. He walked in there and that's what he saw and he couldn't change it."
Scott's emphasis on redesign didn't wipe the existing aesthetic completely clean. In some instances, Messing and his team went back to Giger's original sketches to realize ideas that never made it into the original. "There's lots of little detailing on the pilot's chair that was lost in that original sculpt in that original chair. We had Academy references that we pulled form the archives of set photos of that construction, and we compared them to Giger's original layout for that design." Prometheus also features a construction originally intended for Alien (which Giger's attempted to utilize in later projects, like the ill-fated Alejandro Jodorowsky adaptation of Dune). "The big pyramid mound that you've seen in the trailer. It's almost like a sphinx head, an eroded face. He called it the Pyramid. The compound mound. Some of that is from old Giger drawings from different books. There was development work early on in Alien where they're talking about these pyramid structures, and aliens had engineered man and kind of did it in these big compound pyramids. He toyed with it a long time ago, but he wanted to reintroduce it here."
A fully realized set rarely captures the beauty of concept art created for a major blockbuster, but Messing promises the beauty of a lush drawing remains intact in Prometheus large-scale locations. "The pilot chamber room, I did most of the design work on it. You'll see this desk console that David the Android sits down at an activate, it brings up these holograms — you see it in the trailer — all those sleeping pods, I sculpted all of that in 3D and then gave them sectional layouts and the construction crew literally traced over them. Blew them up and built off of them. When I walked on the set, I had been spinning my model in 3D software for months, and then I was walking on it. I'd say 95% of that set was accurate."
Messing describes Scott as a meticulous director read to make changes at the drop of a hat. "If he feels like a design is hindering his storytelling, he will throw it out." Whereas some directors shoot tons of green screen and give themselves the option to tinker after a shoot, Scott is about reality — and that means building sets, and occasionally, rebuilding them. "We'd be laying out working drawings and it would literally be weeks away from being built, and he would change the entire set. I've never had that experience where they'll combine two sets to save money, which happens all the time, but they'll do it two weeks before." Scott's insistence on tangibility in his alien worlds extended to the exteriors too. Prometheus shot on location in Iceland to mimic the surface of a distant planet, a vista Messing drew beforehand just to Scott's liking. "If you look at the first Alien, or even James Cameron's second one, you'll see there's a lot of pinnacle rock formations in the distance. Ridley had said, 'these are too whimsical.' He doesn't want big fantasy structures in this film. You'll see mini versions of those, but they're scaled back. I was so excited to get in the art department, my first week I was doing some big dramatic landscapes, and he said, 'these are great Steve, but…' They were too sci-fi. He wanted something that looked like he went and shot. It has to be more real than some of the stuff in the original Alien."
With Scott's attention to detail and demand for balance between fantasy and reality, Prometheus may sound stripped of its awe-inspiring otherworldliness. Not so. After seeing the film, the same word floated around my mind as I soaked in the visuals on display in the modern sci-fi epic as it did when Messing saw his drawings turned into life-size sets at England's famous Pinewood Studios. "Amazing." Whether Scott thinks he fixed Alien or not, he's certainly created something we really haven't seen since…well, Alien!
Follow Matt Patches on Twitter @misterpatches
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[Photo Credit: 20th Century Fox, H.R. Giger]
Prometheus Designs and Special Effects
In this latest doomsday pic Earth's inner core has stopped rotating a situation that will eventually cause the planet's electromagnetic fields to collapse. If it isn't fixed pronto static charges will create "super storms" that will generate hundreds of lightening strikes per square mile and cause microwave radiation to ultimately cook the planet. Government and military officials conjure up a team of scientists led by geophysicist Josh Keyes (Aaron Eckhart) to travel to the planet's core and get it spinning again. Accompanying them are geophysicist Dr. Zimsky (Stanley Tucci) atomic weapons expert Dr. Levesque (Tchéky Karyo) "terranauts" Major Childs (Hilary Swank) and Commander Iverson (Bruce Greenwood) and Dr. Brazzelton (Delroy Lindo)--the renegade scientist who built the subterranean vessel. Their mission is to travel to the center of the earth to detonate a nuclear device that will hopefully jump-start the core and save the world. Like the "terranauts" grinding their way through Earth's layers to get to the planet's core The Core laboriously plods through the storyline to get to its climax--and both are equally uneventful.
Despite a really corny scene in which he demonstrates what will happen to the planet by torching some sort of fruit on a fork Eckhart (Possession) is believable as the sensible Keyes. Co-star Swank (Insomnia) meanwhile brings intensity to the role of fledgling astronaut Childs. It is Tucci (Big Trouble) however who creates the film's most interesting character the arrogant Dr. Zimsky. The diva-esque geophysicist heads to the center of the earth in style with his Louis Vuitton monogrammed canvas bag and an endless supply of cigarettes--making him politically--and refreshingly--incorrect. You'll love how he pompously records the mission's progress in a Carl Sagan-style narration. Back at mission control D.J. Qualls' computer-hacking character Rat mirrors a recent report describing the characteristics of computer virus writers: Male. Obsessed with computers. Lacking a girlfriend. Aged 14 to 34. Capable of sowing chaos worldwide. Qualls (The New Guy) couldn't be more suited for this digital graffiti artist role.
Director Jon Amiel helps define the film's main characters by weaving vignettes of their everyday lives throughout the first half of the film but so much effort is devoted to exploring their individual backgrounds that relationships among the team members are never established. The minor characters are like extras in a Star Trek episode--they're just onscreen to die. The Core also fizzles as a believable disaster movie because of its flimsy scientific reasoning even if you try to suspend your disbelief for the sake of cinematic "escapism." While I can make myself believe for example that a government-created weapon of mass destruction is to blame for the planet's imminent annihilation I cannot buy into the notion that this high-tech vessel was built by a renegade scientist in his backyard and is able to withstand the rough trip to the center of the earth. Although the film's original November release date was delayed because more time was needed to complete the special effects don't expect to be visually dazzled by the voyage. Most of what we see is what the "terranauts" see on their screen: spotty black-and-white renditions of sharp jagged rock. Scenes of the Roman Coliseum getting zapped by lightening and San Francisco's Golden Gate Bridge melting aren't convincing either.