"In space no one can hear you scream" - A few thoughts on an Alien/Aliens double feature

One of the best things about being a film fan in Melbourne is The Astor; an old art deco cinema that regularly plays double features of older and classic films. Just this year, I’ve had the pleasure of catching Grindhouse, a Good Friday screening of Ben-Hur (my first time seeing this classic film, and I can think of no better way to experience it), as well as a Stanley Kubrick double feature of Full Metal Jacket and A Clockwork Orange. Last night, I had what was perhaps my favourite experience at the Astor thus far – a double feature of Ridley Scott's Alien followed by James Cameron’s sequel film, Aliens. Anyone who has seen my online avatar knows what a big fan I am of this franchise, and while I don’t have the time to offer full reviews of either movie, I still thought I’d share a few thoughts that came to mind  while watching these two phenomenal science fiction films back to back on the big screen. Obviously, there are spoilers ahead for both films

First off, the cuts of both films were both versions I had never seen. The version of Alien was, I believe, the director’s cut that was rereleased in cinemas for a short time in 2003, and is available on the 9 disc Alien Quadrilogy Boxset. The only really significant change I noticed was a scene towards end, where Ripley, while fleeing the Nostromo, discovers the cocooned bodies of Brett and Captain Dallas, the latter of whom is still alive. It’s a good (if horrific) sequence, but it does slow down the pace of the otherwise frenetic final act. It also causes a slight discrepancy with the sequel (had Ripley known the Xenomorph cocooned its victims, she would possibly have guessed the fates of the colonists on LV-426 earlier).

Speaking of Captain Dallas, am I alone in thinking that he and Ripley were an item? It’s never addressed explicitly through dialogue, but just based on some of their body language and a certain tension between them, I ended up making the conclusion that they were together, or at least they had been some time in the past. If that is the case, it certainly gives the added sequence some additional weight, as Ripley is forced to set Dallas alight to end his suffering. Either way, I do think I fractionally prefer the theatrical cut over this slightly elongated version.

That said, no matter what the cut, it is remarkable how much this film is improved by a big screen viewing experience. Specifically, there were two scenes that I gained a much greater appreciation for. First, the exploration of the derelict alien craft; for the first time, I actually got a good look at the original pilot of the ship (although that may have been another addition of the director’s cut – does anyone know whether it (he?) is identified as a victim of a chestburster in the theatrical cut?) The second scene is Dallas’ hunt through the Nostromo’s air vents; it’s a very dark and claustrophobic scene, and seeing on the big screen gave me a much better sense of geography.

Moving on to Aliens. Conversely, while I had only seen the Special Edition version of Aliens, the cut shown last night was I believe the theatrical version and was quite a bit shorter. Unfortunately, while the differences in quality between the theatrical and directors versions of the first film are pretty negligible, I would argue that this shorter version of the sequel is definitely inferior  to the Special Edition. There were at least four scenes that I noticed were missing; the discovery of the derelict spacecraft by the colonists, the motion sensor fake-out involving the laboratory mice, the automated turret sequence (in this version, the Xenomorphs come straight through the roof rather than attempting to enter via the doors) and the scene near the beginning of the film where Ripley learns that she has outlived her daughter. These latter two sequences were especially missed; the first because it is a fantastically suspenseful action beat where you don’t actually see any of the action, and the second because it adds significant weight to Ripley's relationship with the orphaned Newt.

Even with these absences however, I still remain one of those people who prefers the character driven action of Cameron’s sequel to the more atmospheric quality of Scott’s original. The first film definitely feels more artistic (and I will say, the beginning of Aliens is far quicker and less majestic than the beginning of Alien, which is nothing short of a spiritual experience). But Aliens is one of the best action films ever made,  period.

This brings me to a quick juxtaposition I wanted to make between two shots that I feel really highlight the journey of Ellen Ripley between the two films.

The first shot comes in the climax of Alien. Ripley, having set the Nostromo to self destruct, rounds the corner only to almost run straight in to the creature that has been picking off her crew members one by one. Pinned against the wall, the expression on her face is one of pure unadulterated terror.

The second shot comes from the midpoint of Aliens; Having driven the armoured vehicle into the compound to rescue the marines, Ripley is now desperately trying to pilot them to safety. When a Xenomorph leaps on to the top of the vehicle, Ripley slams on the breaks and sends it flying forward, then accelerates, crushing the creature under the wheel. The moment is sold as fairly incidental kill, but in terms of Ripley's character development it is an essential one. She has finally killed one of them, and the look on her face - one of absolute determination - tells you everything you need to know.

And while tonally the films are significantly different – one is a horror film, the other an action adventure –  watching them back to back makes you realise that Ripley's evolution over the two films feels completely natural (and therefore, so does the tonal shift).  That, I think, is why these two shots stuck out in my brain. One is of a terrified final girl, the other of an arse-kicking action heroine (something also reflected in the lighting of the shots - Scott employs rapidly strobing white light, while Cameron uses an "inside of a submarine" red). Aliens is such a phenomenal sequel  because it is driven by the need to gives it central character closure, and Sigourney Weaver makes you believe she gets it.

Well, that’s all I’ve got on these two films for the time being. Please feel free to share your opinions on any element of either film in the comments section below.

Actually, one final thought. Anyone else think that sequence where Ripley first stumbles into the Alien Queen's nest was inspired by Hitchcock’s The Birds?