As a long-time fan of the Alien franchise, I find myself deeply troubled by the lackluster portrayals of the series’ leading ladies since Sigourney Weaver’s iconic performance as Ripley. Having grown up with Ripley’s grit, determination, and humanity, it feels like a letdown to see her spirit diluted in subsequent films.
There’s a scene in the new Alien movie where someone shows the heroine, played by Cailee Spaeny, how to handle a pulse rifle. “It’s the one the colonial marines use,” the teacher tells his student, as if the way the moment is shot and blocked weren’t enough to, well, trigger the desired rush of fond memories in the audience. Like so much else in Alien: Romulus, it’s an explicit callback — namely, to an iconic interaction in the first of the Alien sequels, James Cameron’s exhilarating Aliens. Of course, that rifle is also a torch Romulus passes to Spaeny. We’re meant to look at her and see Ellen Ripley, the resourceful, increasingly wearied survivor Sigourney Weaver played in four sci-fi thrillers set beyond the stars.
In my perspective, Spaeny’s character in Alien: Covenant isn’t the first Ripley-like figure we’ve encountered since Sigourney Weaver bid farewell to the Alien franchise with Resurrection in 1997. Over the years, this series has undergone numerous transformations, venturing into Predator territory, prequels, and now a reboot that harks back to its roots. Interestingly, many of these films share a common thread beyond the Xenomorph – they feature a determined heroine who embodies the spirit of Ripley in one way or another. This pattern merely underscores a profound truth: Ripley has always been as integral to the essence of Alien as the alien itself. The absence of such a character has undoubtedly left its mark on each film produced after her departure.
By now, Ripley’s reputation as one of the great action heroes in all of cinema is very much secure. Is there a more rousing, fist-pump-worthy moment in movies than when Weaver steps into frame, her body encased within a massive metal power loader, to bellow “Get away from her, you bitch!” at the queen of the monsters? That said, what’s always elevated the character above the glib killing machines of contemporaneous Hollywood thrill rides is the aching humanity Weaver brought to the role. In an age of herculean commandos of the Sly and Arnold variety, Ripley was vulnerable and relatable — an ordinary person thrust into extraordinary circumstances, evading extraterrestrial doom by virtue of her smarts and courage.
In the film “Alien,” Ripley evolves into an unexpected yet powerful protagonist. Initially, she’s part of a hardworking crew tasked with cargo, but when disaster strikes the Nostromo, her leadership skills emerge naturally. At the movie’s outset, there’s no obvious indication that she will be the main character. Instead, Tom Skerritt, a veteran actor, gets top billing over a relatively unknown actress, Sigourney Weaver who plays Ripley. Interestingly, the director, Ridley Scott, and screenwriter, Dan O’Bannon, employ a strategy similar to that of “Psycho” – while Hitchcock’s masterpiece famously kills off its apparent heroine one-third into the story, “Alien” gradually reduces its cast until only Ripley, the lieutenant, remains. This shows that heroes aren’t born; they are made through adversity.
In the sequel, Ripley transformed into a formidable, gun-wielding character, mirroring the military overhaul James Cameron later gave to his Terminator protagonist, Sarah Connor, in T2. Interestingly, Aliens both toughens and humanizes Ripley: Despite her combat readiness from the first film (evolving into a hardened long-hauler), she also displays a softer side when interacting with Newt, a lone survivor from a terraforming colony. At the climax, these contrasting traits merge, resulting in Ripley becoming an embodiment of maternal ferocity, fighting relentlessly to protect her surrogate daughter against the hive.
In a fascinating twist, it’s been suggested that the character of Ripley was initially conceived as male. However, her gender was never a mere plot device. Instead, the Alien series consistently uses Ripley, a powerful female figure, to create tension by thrusting her into predominantly masculine environments. At times, she experiences discrimination similar to the Xenomorph, with crewmates trying to undermine her, marines underestimating her abilities, and criminals objectifying her. Yet, Ripley consistently proves herself, uniting each disparate group against a common adversary. This adversary, the alien, can be seen as the universe’s most insidious sexual predator, forcibly taking control of its hosts. The disturbing subtext is particularly emphasized in Alien 3, where the fates of Ripley and the alien become tragically intertwined through a cruel twist of fate.
In a unique and poignant touch, Weaver’s portrayal of Ripley in the ‘Alien’ series added emotional depth beyond its initial chilling excitement. She kept Ripley relatable and authentic, even in ‘Resurrection’, when she was transformed into something more than human, her essence blended with the beast that had haunted her for years. Ripley’s courage appears to stem from her fear and sadness, as if she were finding the strength to fight anew in each sequel. Her complex sensitivity makes her a compelling contrast to both the ruthless Xenomorph – “devoid of conscience, remorse, or moral considerations,” as the villainous Ash describes it in ‘Alien’ – and the indifferent corporate titans of Weyland-Yutani. With Ripley as the protagonist, the ‘Alien’ films transform into tales of working-class resilience, where an oppressed laborer becomes the leader in the battle against a corporation that treats every crew as disposable.
It’s not shocking that the series attempted to emulate the original character given her significant impact. However, the subsequent Ripleys appearing in the movies following the initial four have seemed lackluster compared to their predecessor. Perhaps this is due to the fact that the more recent films haven’t devoted as much attention to the human aspect of the storyline. In the movie Alien vs. Predator, Sanaa Lathan’s character, who survives among the rapid elimination of supporting characters, doesn’t have enough development to stand out among them. It feels like the final act of Aliens is being followed by a character we barely know; she may look impressive wielding an alien arm, but she lacks the depth and personality even the silent Predators possess.
In a similar fashion, Scott populates his controversial prequels, “Prometheus” and “Alien: Covenant”, with numerous expendable characters who are generally unsympathetic and not very likable. It appears that Scott is more captivated by the ambiguous androids portrayed by Michael Fassbender rather than the recurring heroines, Noomi Rapace and Katherine Waterston. These seemingly necessary female leads in “Prometheus” and “Alien: Covenant”, who are reminiscent of Ripley, seem to serve only a minor purpose, much like the Xenomorph encounters forced into Scott’s ornate origin tales. Similarly, in “Romulus”, there seems to be a greater focus on its android character (David Jonsson) compared to his human counterpart, despite Spaeny’s impressive portrayal of the latter.
The new versions of Ripley in these films aren’t as distinct or emotionally engaging as Sigourney Weaver’s original portrayal. Worse, they’re trying to win over an audience who already adores Weaver’s iconic performance in the Alien series. This constant comparison is not flattering. For instance, Waterston wearing a white tank top, short hair, and a gun in Covenant resembles Ripley’s look in Aliens, which is another attempt to imitate her that doesn’t help. Similarly, the rifle scene in Romulus echoes this issue. Weaver has moved on from the Alien series, but it seems like the franchise hasn’t. As a result, talented actors are often left mimicking Ripley, referencing her character while reminding us of what we lost when she decided to leave space adventures behind.
It’s plausible that the new female protagonists could leave a stronger impact and break free from Ripley’s shadow if they weren’t each confined to a single movie, where they try to compress Ripley’s entire Alien-to-Aliens evolution into merely two hours. Watching the later Alien movies gives you a fresh perspective on the earlier ones – a narrative of struggle and endurance that Weaver got to explore over four films. In Alien 3, Ripley says to the Xenomorph, “You’ve been in my life so long, I can’t remember anything else,” adding a profound intimacy to their space-spanning dance of death. While the monster remains constant, it is Ripley who evolves. She was the heart and soul of this timeless series. Without her, we’re merely observing reiterations of the same old creature feature: lots of noise and drama, but ultimately signifying nothing in the vast emptiness of space.
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2024-08-16 19:54