#it is a strange choice to deprioritize characterization in a movie that's trying to tackle heavy existential themes but

[cellarspider]

4/?? Meeting the Prometheus crew. Hmm.

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We return to the movie that I want to fold, spindle, and mutilate, Prometheus.

Time to actually meet the human crew.

Hooboy. I am feeling David’s dead-eyed look here. Content warning for jumpscare Charlize Theron, brief mention of vomit, depiction of smoking, and whatever the hell is going on with these people.

First off, there is Vickers (Charlize Theron). Her reveal implies that she has escaped containment, and is probably scuttling around in the vents somewhere. No, in fact, she is doing pushups. She asks David if anyone’s died with all the concern of an inconvenienced accountant,  because she is a Cold Corpo Queen who is going to be an asshole to everyone throughout the movie.

This includes David, who, again, may be meeting his makers for the first time here.

On the other hand, this has more dignity to it than the rest of the crew. They’re currently stumbling around and horfing up their two-year-old lunches, a grand tradition in the Alien franchise.

Charming.

Indeed, this is basically a recitation of a scene from Alien and Aliens: Everyone wakes up and feels like crap, except for a machine-like character and, in Aliens, a Black military dude, Sergeant Apone (Al Matthews), who wakes up and immediately chomps down on a cigar.

On an unrelated note, meet Captain Janek (Idris Elba). He’s smoking a cigarillo and setting up a Christmas tree on the ship’s pool table, while a nameless white guy appears to have ragdolled in the corner. Vickers disapproves.

We meet the last two crew members who are going to have enough of a presence in the plot to get names: Millburn (Rafe Spall) and Fifield (Sean Harris). Millburn is an awkward glasses-wearing dork of a biologist. So far, so realistic.

Fifield appears to be attempting to channel Sheamus the wrestler during a heel-y season. He isn’t here to make friends, he’s here to get paid. He’s here to win.

He’s a fucking geologist.

Sure, there’s a lot of geologists who work for extractive industries that probably are just there for the paycheck, but I don’t know how one of them ends up being selected for a mission of POTENTIAL FIRST CONTACT WITH AN ALIEN CULTURE.

This was absolutely baffling in the theater. What in the hell was this scene? This character? It felt so out of place. Little did I know that this was, in fact, setting expectations for the rest of the movie.

The human characters are not treated in the same way David is. We are not often invited to consider them as beings with inner lives, they are stock characters that you may or may not have previous affection for. And because we functionally meet David first, their presence is jarring.

Because these aren’t just stock characters from just any genre, they’re stock characters from a horror movie. Several different kinds of horror movie, with one bonus character trait if they're lucky. Elizabeth Shaw is the final girl (plus religious background), Charlie Holloway is the jock boyfriend (plus allegedly scientist), Millburn is the nervous, glasses-wearing nerd. Fifield the geologist is, bafflingly, the mercenary who’s Just There For The Money (plus rocks), Vickers is the heartless corpo, and Idris Elba is the calm and unflustered military guy. The rest of the characters, regardless of their role, are therefore consigned to being nameless dead meat.

This didn’t have to be the case. A different vibe could’ve been chosen. The marketing tied this movie to Alien. You’re introduced to everyone in that movie through the lens of their average, unremarkable jobs (in spaaaaace!), and you understand how the situation they find themselves in is completely, terrifyingly overwhelming. 

These are scientists and highly skilled professionals (in spaaaaace!). We have successful horror films out there, where scientists are placed beyond their limits. This used to be a whole thing in the 50s, where Serious Men of Science were sometimes the first and last line of defense against extremely rubbery aliens. Was it mostly goofy? Absolutely. But not always!

(First, the goofy: Night of the Blood Beast (1958), best known in latter days as MST3K’s Season 7 premiere (1995). The trailer features the amazing voiceover “The first satellite creature to impregnate man with its chromosomes!”, as heavy breathing plays in the background. “It’s true,” says a square-jawed white guy, “I can feel it inside!”.)

(Second, the straight: The Thing from Another World, precursor to John Carpenter’s The Thing. While just a standard monster movie, it features one of the first and honestly ridiculous full-body fire stunts on film. They repeatedly doused stuntmen in buckets of flaming kerosine.)

These have slowly died off in Hollywood, but there’s still some that pop up every so often: Contagion (2011) being the one that first comes to mind. Sunshine (2007) and Annihilation (2018) are another two that take a similar, slow tactic, all three of them containing horror elements in their premise and execution.

(major content warning on this first one for pandemic themes. Like, all of them.)

(cw for brief body horror, old self harm scars)

This was what I’d expected from the premise of the first five minutes: a well-prepared team, traveling to confront something with existential implications for humanity, taking the job seriously. The movie disabused me of that quickly, but it didn’t provide me anything as compelling in return.

If I had to guess what other movie Prometheus was trying to be like, The Thing (1982) is a strong candidate. It features a cast of dysfunctional people who are similarly broad in their characterization, and pits them against a source of alien body horror with existential implications for all of humanity. Unfortunately for Prometheus, it can’t live up to The Thing either. However, what it did manage to do was drive me COMPLETELY insane, starting in the next segment.

⛬

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