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Aliens de James Cameron, l'analyse de M. Bobine

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Adepts of the big canvas hello Today, Mr

Bobine's film club is back! So yes, it is October, it's true it was time to move a little To recover tranquilou leg, we will not do in originality since we are going to be interested in an ultra popular and archi commented franchise: the Alien saga and more particularly the second part signed James Cameron released in 1986 Aliens If it seems that everything has already been said or written about this franchise, we still wanted to add our modest contribution to an old debate that still agitates criticism today as fans of science fiction: Is James Cameron's Aliens a good sequel to Ridley Scott's masterpiece? Everything starts in 1983 James Cameron is in full pre-production of Terminator, but the star of the film, Arnold Schwarzenegger, must first honor its contract with producer Dino de Laurentiis going to turn Conan the destroyer, very different from the John Milius Conan to which we had devoted an episode The shooting of Terminator is postponed but Cameron's script caught the eye of producers Walter Hill and David Giler

While waiting for Schwarzenegger to finish making love to De Laurentiis, they propose to Cameron to write a sequel to one of their previous successes: Alien the 8th passenger From the producers' postulate who imagine a cross between No Return and The Seven Mercenaries, Cameron is inspired by one of his old scripts, Mother, which already contained much of the structure of the film we know today Walter Hill and David Giler are so impressed by Cameron's work that they propose to him to realize this continuation, provided that Terminator is a box office success This is obviously the case and in the autumn of 1984, Cameron is entrusted with the reins of the project, with his wife and producer Gale Anne Hurd for a budget of $ 18,500,000, while Fox judged the filmable script for 35 million The least that can be said, is that filming at Pinewood Studios in London in September 1985 will prove particularly difficult

Tensions between the English team and James Cameron foreshadow the reception of this second part of the Alien saga Indeed, British technicians digest badly that sticks in the legs a Canadian director to turn the rest of a classic made by one of their countryman So the team refuses to obey Gale Anne Hurd, believing she is only the filmmaker's wife On Cameron's side things are not much better In addition to his many altercations with a team he does not support the little investment, he returns Sorcerer's chief operating officer, Dick Bush, who refuses to enlighten the scenes as he hears, forcing Cameron to take care of the light himself before Adrien Biddle comes to the rescue

But the worst is yet to come On the advice of Walter Hill, the director hired one of his recurring comedians, James Remar, to take on the role of Corporal Dwayne Hicks Out at this time, the actor is an addict smashed from morning to night, and even ended up being stopped by the police, automatically resulting in his replacement by Michael Biehn that Cameron had already headed into Terminator To these problems will be added a post production just as messy which forces the director to redo himself some special effects and sound design, while composer James Horner is forced to urgently write the soundtrack, which results in a clash between the composer and the director Result the film is not yet ready for its preview scheduled July 14, 1986

Fox does not believe so much in the success of this sequel she prefers to bet all its promotion on its family production Cap on the stars But against all expectations, it is James Cameron who wins the bet On arrival Aliens is nominated 7 times at the Oscars, which of the best actress for Sigourney Weaver and wins those of the best sound editing and the best visual effects As for Cameron, he is voted Best Director of the Year by the National Association of Theater Owners For its part the Fox validates the idea of ​​a third component who will take six years to get to the screens

At first, everything rolls for James Cameron who managed to thwart all the obstacles that stood against him But things are not so simple and the exit of Aliens is going to be the beginning of a real schism in science fiction fans If overall the reception of the film was rather positive, many voices rose as the success of Aliens grew The influential critical duo of the Chicago Tribune, Roger Ebert and Gene Siskel, absolutely disagreed with Cameron's movie Ebert considered the film a success because of its intensity that never weakened while Siskel was much harder than his colleague

It is an extremely violent and interminable attack of the senses Towards the end, the film comes to put a little girl in danger in a pathetic attempt to satisfy God knows what audience Some people praised the technical qualities of Aliens Well, the Eiffel Tower is technically impressive, but I will not like to see her fall on people for two hours This backlash, it is also found on the side of fans of science fiction

One of the leading magazines of the time, Starlog, receives several letters about the film, which are published in issue 116 of March 1987, and James Cameron will even give himself a right of reply a few numbers later France is also not left out See what Frederic Mitterrand said about Aliens in his show Stars et Toiles The replacement of the war movie by the pinball, where unisex rambos exterminate blacks, yellows, intellectuals, poor and extraterrestrials In short, intra-human and certainly communist molluscs, directly in the retina and the eardrum of the viewer, says a syntax: the two-second plane, and a goal: also send ad patres any distance, all reflection and all psychological reality! Where old war films extolled perhaps simplistic human values, but in any case very real, the Stallonorama finally advocates murder outright, through the massacre of the idea of ​​cinema! The worst part is that it's always fun and exciting to see what you love to destroy

Like Terminator that ends everything The important thing is that there are the most deaths Same story in this report of the show Time X where the filmmaker tries in vain to defend his vision So, Aliens, Rambo, same fight? The question remains open One can only wonder what has become of Ridley Scott's vision in a film decidedly very influenced by a current trend, that of the muscular and destructive cinema

The main criticism of James Cameron, it's to have abandoned the horror atmosphere of Ridley Scott's movie to ogle the revenge war movie so very fashionable then very popular in the ultra-liberal America of Ronald Reagan A reproach all the more violent as Cameron is also the scriptwriter at the origin of the feature film that defined all the Reagan film of the time Although started following the worldwide Star Wars board, and although Ridley Scott makes several references in his film, Alien, 1st of the name, was distinguished from George Lucas' hectic space opera by its slow and oppressive atmosphere and especially by his dark world teeming with details testifying to a more adult vision of science fiction Ridley Scott's film was above all the work of an esthete with all that term implies of art in the noble sense of the term And although the film also entitled to many negative reviews, they did not involve the same considerations as the work of George Lucas

The latter had the misfortune to be considered the gravedigger of New Hollywood, and he was criticized for having regressed science fiction at an infant stage devoid of major philosophical, intellectual and pessimistic questions fashionable in the genre during the 70s and of which he was previously perceived as one of the most illustrious representatives with THX 1138 So inevitably, the marines of James Cameron fodder of the alien by tens were seen as a regression of the Alien saga to a simple franchise of action to truster the top of the box office It's also from the Aliens board that James Cameron stacks this image of naughty entertainer unlike Ridley Scott, who has since been seen as a visionary artist The reality is obviously much more complex, both men, despite a certain friendship that continues today are quite far apart artistically and socially speaking Ridley Scott is the son of an officer of the Royal Army, while Cameron is an engineer

Scott is passionate about fine arts who studied at the prestigious Royal College of Art University in London before founding with his brother Tony, Alan Parker and Hugh Hudson the Ridley Scott Associates in 1968 They will then make a name for themselves in advertising then will try to restore his nobility to the British cinema still haunted by the contempt he suffered a few years earlier when François Truffaut declared this cinema non-existent Cameron's career is the antithesis of Ridley Scott's prestige, as David Fakrikian recalls, author of a reference book on the filmmaker I wanted to do a film school, but I could not afford to pay for it and my family either I understood that cinema was reserved for an elite, a caste, and that a young person from a lost city in Canada like me would never be a part of it

For a while Cameron follows unsuccessfully physics studies and multiplies odd jobs as a bus driver His desire for cinema being stronger than anything, he regularly visits the USC library to read books on the cinematographic technique After eating Star Wars with a pear, he also decides to take the plunge and makes a first short film: Xenogenesis, which allows him to find work with the pope of the B series Roger Corman, where he officiates on various productions as a decorator where responsible for the special effects That big Van Dammesque gap between James Cameron and Ridley Scott is also in their very first film The duelists is an adaptation of a short story by Joseph Conrad, very influenced by Stanley Kubrick's Barry Lyndon, while Piranha 2: flying killers is a big Z series

Nevertheless, as different as they are, these two films share a common point By tackling the realization of Duellists and Pirahna 2, James Cameron and Ridley Scott had an almost unhealthy need to prove themselves Indeed, if James Cameron found himself at the controls of Piranha 2, it's because of a deal between producer Ovidio G Assonitis and Warner Bros who agreed to finance the film up to $ 500,000 provided that an American director is attached to the project If Cameron had already stood out with his special effects for the movie The galaxy of terror, Assonitis was mainly looking for a docile technician at his command

Lack of pot, well it's James Cameron He is then involved in all aspects of the project be it the storyboard, the special effects, the pre-production and even rewrites the script under a pseudonym, but after 5 days of filming or 3 weeks according to the testimonies, and several altercations with Ovidio Assonitis, Cameron is off the set It will nevertheless benefit from the fact that producers are absent to break into the editing room to put the film together

Unfortunately, Ovidio G Assonitis realizes this you put the film back to your liking Therefore, it is difficult to consider Piranha 2 like James Cameron's first film, the latter prefers to consider Terminator as his first achievement, but his experience at Roger Corman shows despite everything its desire to integrate the world of cinema by all means This temper is also found in his British counterpart Indeed, Ridley Scott was jealous to the point of not getting sleep for weeks seeing his compatriot and rival Alan Parker to start producing his first film, Bugsy Malone, while he stagnated in the world of advertising

Rather than waiting for a studio to deign to call on him, he decides to finance the writing of the duelists' script himself He even gave up his salary to make it easier to finance his film In the end, the determination of Scott and Cameron paid off since their first films (or what they consider their first film in Cameron's case) allowed them to be noticed by the studios However, the reception of the two films still testifies cleavage between James Cameron and Ridley Scott since Terminator is a public success proving that James Cameron is a bankable director, the Duellists is above all a critical success and will win the prize for best first film at the Cannes Film Festival, making Ridley Scott a prestigious director And yes, if Alien and his suite are two films so different from each other, it's primarily because the cinematographic approach of the two directors is radically opposed

Ridley Scott is unmatched in creating a chilling, atmospheric atmosphere he makes his plans last and uses elegant frames in long focal length highlighting the details and textures of the extremely rich and detailed sets On the other hand, the action is not so much its strong point Unlike James Cameron, who has no equal to film action His cutting is nervous and visceral, he prefers to use short focal lengths and is interested in movement to the movement rather than the details of the decorations which are rather sober and minimalist

On the other hand, he himself admits to having failed to reproduce the mood of the first film, especially on this scene that was cut in the movie version In the same way, at Ridley Scott's, the creature is incredibly detailed but we see very little in motion while in Cameron's movie, the costumes of the xenomorphs were lightened and simplified to allow the actors to work more freely the movements of the creatures These two radically different approaches to staging have the same goal: play with the nerves of the spectators Both directors also have a very different way of approaching science fiction Cameron is since childhood a great admirer of this genre in all its facets, which is not really the case of Ridley Scott as he declares himself

Before turning Alien I did not like science fiction Because of my Puritan and bourgeois education, I was never going to see the monster movies of the 50s I would have had the impression of unnecessarily burdening my brain But I was devouring comics We can say that the realization of Alien was for his director a real revelation which allowed him to free himself from his prior and to deliver a sensitivity of romantic inspiration, already at work in the duelists

during this is this strong artistic imprint which will also create a big misunderstanding that continues today As for Star Wars the success of Alien does not have to his only director, but to an artistic team from various horizons Legend has it that screenwriter Dan O'Bannon wrote the first version of Alien following the failure of pharaonic adaptation of Dune by Jodorowsky, film on which O'Bannon took care of the visual effects But the reality is unfortunately a little dirtier It's on the set of Dark Star that John Carpenter confided to Dan O'Bannon that he wanted to put in images a new version of The planet of the vampires of Mario Bava When the adaptation of Dune breaks the figure, O'Bannon, who in the meantime had definitely quarreled with Carpenter, This draws out of its drawers and gives them authorship The Thing Starts Some Time Later partly stems from Carpenter's feeling of being robbed of Alien The only merit of O'Bannon, not to neglect nevertheless, is to have directed Ridley Scott to the Dune Art Team: Ron Cobb, Moebius and of course HR Giger

Finally it was Walter Hill and David Giler who made Ash an android, and chose to make the central character a woman then to entrust the role to Sigourney Weaver Thus, Ridley Scott's role was primarily to coordinate and unify very heterogeneous pictorial universes by the force of his staging But if Ridley Scott's Alien is above all a collective work, his suite is, on the contrary, the result of the vision of a single artist: James Cameron Yet if we pay attention to Aliens we realize that many scenes echo the previous part The distress call, the exploration of LV-426, the discovery of the facehugger, the chestburster that opens hostilities

And as in the first part, the film ends on the heroine who expels the creature into space before falling asleep in a hibernation capsule So we might be tempted to say that Cameron was content to duplicate the highlights of the first film by adding some fuzzy action for the sole purpose of obscuring his lack of imagination You can imagine that it's a bit more complicated than that

Certainly the filmmaker is reusing the narrative pivots established by his predecessor, but if Aliens brings the viewer back to familiar it's to better confront him with Cameron's radical biases, bias much more personal and subtle than one might think Indeed, James Cameron wants above all to reclaim the myth of the alien and include it in his personal themes It is for this reason that Cameron did not take Giger on this second part, as he explains in a letter to the agent of the Swiss artist: Ironically, it was Alien's design production, with his strange psycho-sexual landscapes of the subconscious created by Mr Giger, which initially attracted me to this project of continuation However, being a production designer myself before being a director, I felt that I had to put my own mark on this project

Otherwise, this project would not have much interest for me at this stage of my career, while I have other original concepts and other creations that I could develop with the same financial attractions and probably more artistic freedom I discovered that tackling a sequel may be a difficult exercise to balance creative impulses, the desire to create a completely new painting while paying tribute to the original work Mr Giger's visual universe was so powerful and ubiquitous in Alien (a major contribution to its success in my opinion) that I felt that I was in danger of being overwhelmed by him and his universe if I had shipped it to a production on which, in a way, he was more in his place than me Thus, Aliens contains a lot of elements already present already present in two of the director's previous works: Piranha 2: The flying killers and his Rambo 2 scenario

And yes, as embarrassing as it is, the discovery of Piranha 2 allows to better understand his approach on Aliens So obviously, I'm not talking about sexy comedy scenes worthy of a Philippe Clair movie that were not shot by Cameron, but rather the presence of a heroine, from Lance Henriksen, creatures thought of as biological weapons and scenes that seem to answer each other through time There are even a few references to Ridley Scott: With regard to Rambo 2, by Sylvester Stallone's own admission, the movie does not have much to do with James Cameron's original script, to the point that the actor regrets to have made a vehicle to his glory and that of his country Just as with Piranha 2, Cameron will take back elements abused on Rambo 2 in his Aliens The trauma of Ellen Ripley and the presence of Marines presented as arrogant naggers before being exterminated by the xenomorphs are two brilliant examples

For James Cameron, Aliens was the occasion to take his revenge on his first experiences in the world of cinema because through this sequel to Ridley Scott's masterpiece, Cameron had the opportunity to approach correctly themes that could not have been showing in passing that there are no good or bad ideas, just good or bad ways to treat them Although not openly turned to a "noble" vision of art as Ridley Scott can be, James Cameron's cinema is nevertheless studded with sharp references as already shown Terminator in which a character goes back in time after falling in love with an image, as in Chris Marker Pier It's the same for the red eye of the T 800 a tribute from Cameron to Hal's 2001 Space Odyssey As such, Aliens is also an opportunity for the filmmaker to pay tribute to his idol, what's more, one of his most divisive films Whether in Terminator, Aliens and the rest of his work, Cameron does not use in any way these noble cultural references as an end in itself but as one element among others that he reshapes in his own way to give it a new meaning and nourish its creation

In the same way it reuses very D system methods from his passive Roger Corman as the off-field sound and a sharp mounting to create a permanent tension and suggest the presence of a hundred aliens, while there are at most five actors in costumes that are present on the screen And while we are there, I can not resist the temptation to open a little parenthesis on one of Aliens's coolest stuff: the powerloader! In addition to putting Ripley on an equal footing with the Queen, the Power Loader is an opportunity for the filmmaker to put forward a figure present in his short film Xenogenesis and well known Japanese pop culture: The mecha Not happy to realize the fantasy of spectators who at the same time devour Goldorak, Gundam or Bioman in front of their television sets, Cameron inscribes this Mecha in a worker context, since at the base, it is an improved version of the forklift The Power Loader is a great Chekhov rifle as a gateway for the Japanese science fiction enthusiast only for the novice who feels no particular affection for this kind Thus, Cameron, in his own way, has cleverly conquered a public heteroclite like his predecessor

So ok, we're in the middle of our episode and I think Aliens is not a simple decerebrate suite, it is a film that bears the mark of its author and which is close to his heart But does that make it a good continuation? Yeah, we can legitimately ask ourselves if by reclaiming the universe created by Ridley Scott and his team of artists, Cameron would not have just thrown in the trash all the themes that made the richness of the first film

At first sight, there are two major betrayals to the first part of the saga: military imagery and the turn towards the war movie but also the eponymous creature that goes from a single indestructible monster almost lovecraftian to a multitude of critters who behave more like big insects James Cameron has never really hidden his fetishism for imaging associated with the US military Moreover, the shooting of Aliens was more like a battlefield only on a movie set, to the chagrin of the English technical team But it would be a little faster to say that Cameron shows us an exalted vision of the war and the Marines in his Aliens We are very far from Rambo's Reagan America 2 since by transposing the codes of the western post-war and the disillusioned commando wire of the sixties in a film of SF, Cameron eyeing the cinema side of the sixties and seventies which also claims Ridley Scott with Alien Cameron's film is thus in the line of an unknown work like Zulu of Cy Endfield Like the British army of the film, the Aliens Marines are nothing but invaders on a colonized planet, unable to survive without their technological assets, unlike their opponents in perfect harmony with the environment around them It can also be seen as an allegory of the Vietnam War, but what interests mostly Cameron, it is to show representatives of economic and technological superpowers who come up against a primitive and indomitable nature to the point of paying the price of their arrogance

The first part of the Alien saga already developed this idea of ​​a world governed by private companies favoring profits rather than the lives of their employees But if the Company remained relatively in the background in Ridley Scott's film, at Cameron, she now has a name: Weyland-Yutani, but also a face, that of Carter J Burke

Cowardly, opportunistic, lacking the charisma usually expected of a bad guy, Burke is not a threat that can compete with xenomorphs He is even rather benevolent with Ripley and supports all his decisions until Ripley's actions no longer fit with his interests Indeed, Cameron repeatedly points out that it is his thirst for profit which makes him almost more dangerous than the xenomorphs Because under Cameron's camera, the gigantic conglomerate Weyland-Yutani is the representation the most radical and dehumanized of ultra-liberal ideology of the 80s Therefore, if the warrior tone of this second part slice with the psychological horror of Ridley Scott's movie, it is not a betrayal, however On the contrary, it allows Cameron to deepen in his own way the themes at work in the first part

Thus, the marine commando at the heart of the story shares a lot of common points with the team of Alien workers first of the name In both cases, both crews are only performers and serve as cannon fodder so that their employers can finally get your hands on a xenomorph specimen So, is Cameron a protesting filmmaker in the manner of Medvedkine groups? Maybe not but like some of his colleagues he never forgot where he came from, and his work is populated by people of modest conditions struggling against the drifts of an omnipotent and dangerous system, whether Cyberdyne in the Terminator, the RDA in Avatar, or the White Star Line in Titanic whose sinking is conducive to a real class struggle No wonder Cameron considers Norma Rae, portrait of a trade unionist camped by Sally Field, as one of his bedside films It is more than likely that it is this proletarian vision of Ripley's character in the first movie which has marked Cameron to the point of making a more global reflection on femininity Now we come to the second big rebuke to Cameron: that of having denatured and desexualized the xenomorph In my opinion, the sexual dimension of the monster is at the origin of a little misunderstanding

If the creature comes from Giger's biomechanical, sexual and tortured imaginary, Ridley Scott's film is not for sure an exploration of the darkest areas of the human psyche If some critics soon intellectualize the sexual aspect of the monster, this feature is only highlighted in rare occasions in the film, and not always the finest ways Ridley Scott is well aware of the psychoanalytic dimension of the monster since it will use extracts from the soundtrack of Freud secret passion of Jerry Goldsmith

Nevertheless, Alien remains a scenario of series B which has been transcended by an incredible artistic direction and an elegant staging, but that does not avoid some of the gross pitfalls of the genre, especially with this chat con who alone is responsible for half of the Nostromo's deaths Damn ! The vacuum cleaner! I forgot to turn it off! In contrast, sexual imagery contiguous to the monster is used primarily to illustrate the true nature of the creature, for what makes the xenomorph particularly terrifying it's its ability to penetrate and colonize any organism, that it is mechanical like the ship, Or organic like the human body So, not only does the alien transform the ship in an environment hostile to human life, but he also deprives the characters of their bodies and their functions of procreation and that, James Cameron perfectly understood

In one of his analyzes, the American videographer Rob Ager said moreover that the second installment of the Alien saga was the antidote to the first film Indeed, if in Alien the characters gradually lost the control of their environment but also of their own body, in Aliens, they will instead try to take it back As such, how Cameron plays on sexual imagery is in the lineage of two other filmmakers having like him worked in the cinema of exploitation: George Miller on the saga Mad Max and Shun'ya Itô on the first three parts of The Scorpion Woman Like his Australian and Japanese counterparts Cameron will bypass the rudimentary aspect of art direction, made of picks and shovels, to inject evocative visual elements taking place in a crappy aesthetic in contrast to the elegant visual of its predecessor Indeed, in Aliens, the Marines too are a colonial force, and like Giger with the xenomorph, Cameron does not hesitate to associate them with very masculine imagery, whether with their weapons or their vehicles, like the Sulaco which evokes so much a gigantic rifle than a giant phallus

The first sketch of the ship that Cameron had sent to Ron Cobb was quite explicit on this point And if this grid of reading can make smile, know that the director will reuse it explicitly many years later As for Ripley, his career is guided by this desire to face his mourning to become an exalting figure again Sigourney Weaver has based all his interpretation of the character on the scene missing from the cinema version in which we learn that his daughter died of old age as she drifted in space So at Cameron, his career goes through a reconstruction, not to say a progressive reconquest of his femininity, by appropriating all the technological paraphernalia reserved for male authoritarianism and becoming a leader for survivors

Moreover, its reconstruction also goes through its relationship with Newt Originally conceived as a tribute to the present little girl in the movie Monsters attack the city, this character is an opportunity for the filmmaker to show his faculty to make the most of young performers while demonstrating a palpable psychological realism when it comes to showing post traumatic stress What unites the girl to Ripley it is precisely this trauma of having lost loved ones And it is also through this prism that the filmmaker introduces children's fears related to fairy tales which will allow him to deepen the mythological dimension of the creature But before looking at the myths that inspired Cameron, this overview would not be complete without mentioning another character who has marked the audience

And as such I believe it is our colleague François Theurel aka the Movie Shooter who speaks the best of it The director has always loved the figures of strong women Which could give systematically masculinized characters being forced to become "more dudes than guys" by repressing a more stereotyped feminine part except that not at all Even Vasquez, at first the most masculinized of them, is not a woman trying to adapt to a macho environment to the detriment of herself: it is a character able to smash an xenomorph at close range by laying her head against the wall, and that is how she is blooming Their gender is part of the picture, but does not lock them up And it is precisely these various feminine representations which brings us to the key stage of the feature film The confrontation between Queen Aliens and Ripley works on different levels

At first, it provides an answer to the creature's life cycle without denaturing the aura of the xenomorphs Yet this cycle was originally totally different In a cut scene of the first feature film we can see Ripley discover a nest inside the Nostromo in which Dallas was gradually becoming a facehugger egg If the idea of ​​humans brought back to the state of creatures was rather interesting the concept was still very wobbly By imagining a queen, Cameron offers a solution as simple as evocative, since we are witnessing a confrontation with mythological consonances between two mothers

For example, Queen Alien is an avatar if I dare to say castrating deities from various polytheistic traditions The sequence or Ripley sinks into the depths of the colony to find Newt kidnapped by the aliens refers to the myth of Demeter, the goddess of agriculture and harvest of the Greek pantheon Indeed, like Ripley, Demeter leaves in the underworld in search of his daughter Persephone who was abducted by Hades, the god of the underworld This confrontation also refers to the myth of Orpheus crossing hell to deliver Eurydice Just like Orpheus with his lyre, it's Ripley's emotion and empathy for Newt which represents the famous chord that can cope with a creature who does not in the same way that Orpheus manages to soften Hades with his musical instrument

As such, David Fincher's third installment will continue to explore this myth since Ripley like Orpheus, finds himself living as a hermit eaten by pain, until an xenomorph kills her from the inside, in the same way that the Maenads cut Orpheus And it is this myth that is one of the cornerstones of all Cameron's work In Abyss Bud Brigman must go deep into the pit to prevent the bomb from annihilating the creatures After killing the T 1000 in a steel mill equated with hell, Schwarzy kills himself in the molten metal so that his body is not misused, thus saving humanity And finally in Titanic, Rose drops to the bottom of the liner to save Jack Dawson while the latter will eventually reach the bottom of the ocean to let Rose survive

To return to Aliens, catharsis works at full speed since by exterminating a nest of xenomorphs, Ripley puts an end to his suffering and regains possession of all his femininity From the beginning, where Ripley is equated with the earth, an image returning again to Demeter, Aliens is a representation of various strata of the sacred feminine No wonder then that years later the director associates his iconic interpreter with a tree of life Aliens is therefore in no way a betrayal to the first On the contrary, it is an answer, a mirror film that extends the themes of the first part by reinventing the universe of the saga

And it has become a tradition about franchising since each new episode kills the previous one as much as it prolongs the mythology If Ridley Scott was not very happy with the rest of his Alien, James Cameron was downright angry about the deaths of Newt and Hicks at the beginning of the third part Little anecdote: the executive of the Fox who has made every day David Fincher shit on the set of Alien 3 was none other than Jon Landau, Cameron's future right-hand man at Lightstorm You surprise me that guys have become friends as pigs later As for the fourth part, he too kills his predecessor bringing Ripley back from the dead Later in their career, James Cameron and Ridley Scott will both come back in their own way on their foray into the Alien universe Like Ellen Ripley, Jake Sully is a traumatized character who will have to rebuild throughout the film As in Aliens, the final plan is a response to the character's introduction plan

Ripley is first alone in her pod, but when she regained control of her femininity, she is accompanied by Newt In the same way, Avatar's final plan responds to Jake's awakening of his cryogenic sleep, once the character has connected to Neytiri, Omaticaya and Pandora, it is now complete and it is in its avatar form that Jake wakes up There is also a colonial force on a planet hostile to human life and a fight between a human being in a mecha against a fearsome creature, but unlike Aliens, in Avatar, James Cameron no longer espouses the point of view of the settlers, but that of the natives So, Avatar is also the mirror film of Aliens and we refer you obviously to the video we have dedicated to him As for Ridley Scott, the return to the Alien franchise was more complicated

In the same way that Scott knew himself in competition with Star Wars by doing the first part of Alien, he got involved with Prometheus with the idea of ​​surpassing Avatar But unfortunately, his approach is closer to that of George Lucas with his Star Wars prelogy, indeed, they both tried to reclaim a franchise that had escaped him as much as to destroy the mythological foundations, be it Lucas Force or the extra-terrestrial origin of the monster at Scott's Until Prometheus, the Alien franchise has been enriched by the vision of authors who are very different from each other, For better or for worse While director Neill Blonkamp was announced on a possible Alien 5, Ridley Scott has blocked the project, wanting to maintain control over the franchise and to establish itself as the only responsible "engineer" of one of the greatest saga of science fiction in the history of cinema As this response to a fan on Twitter shows, Blonkamp did not hold a grudge against Scott and said he moved on However, we notice all the same that he does not attribute the authorship of the franchise to Ridley Scott alone, but also to James Cameron

And yes, no offense to the British director, the Alien saga is above all a collective work, and this from the very first stage which is the sum of talents of artists with very different universes from each other Even if James Cameron's vision is radically different from Ridley Scott's Alien and Aliens are each a facet of the same coin, both opposite, but also perfectly complementary After all, is not that all we can expect from a good sequel?

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