Prometheus Review – Symbols and Themes

Prometheus, directed and produced with Ridley Scott’s aid, had much hype, particularly from me. It turned into the first-rate and had a few plot holes inside the 2nd half that did not quite destroy it; however, it had been unpleasant. Many visitors will not “get it” if they have not seen and recollected the original Alien film. It’s no longer just some other shoot-em-up sci-fi movie; it is a big deal for fanatics of the series. If you plan on seeing Prometheus and don’t consider the 1979 Alien movie or haven’t seen it, I think it is essential that you watch Alien first.

The characters were excellent. It’s not extra special, however desirable. And the appearance turned into fantastic, for the maximum component. I felt sorry for the archaeologist, Elizabeth Shaw, and I wanted to hug the entire 2nd half of the film. The android, David, changed into additionally a memorable individual. Elements of Blade Runner have been present in this person, especially the idea of the “tears inside the rain” monologue. The actor for the android averted watching the authentic Alien movies and, as an alternative, got the inspiration for his man or woman from Blade Runner.

The display screenwriters John Spaihts and Damon Lindelof (co-creator of Lost) did a first-rate task. Spaihts is relatively new to the writing scene but has enjoyed writing sci-fi. He wrote the authentic script, but then Lindelof rewrote it, probably fixing some matters, even developing extra plot holes. It became the script that took away the most from the film. I don’t know which creator has greater accountability. But I’d be inclined to go out on a limb and say Lindelof, thinking how he has been writing about being stranded on a tropical island for years and then unexpectedly jumps into the sci-fi genre. Seriously, a person who once wrote for an MTV display called Undressed–surely a signal of writing only for cash–has no commercial enterprise messing with the Alien universe. I needed to allow that out.

The cinematography was superb. Just as anticipated from a Ridley Scott movie. The intro photographs were mainly accurate, and the imagery furnished inside the commencing scene let me recognize that Scott had now not forgotten that vital part of Alien. Most of Scott’s movies are deep and full of thematic factors. He did not disappoint with this one.

—SPOILERS BELOW—

The movie opens with a humanoid, light alien standing on the pinnacle of a waterfall on Earth, probably tens of thousands of years ago. He liquids a black liquid (which appears alive), and we witness rapid modifications in his DNA because the strands are twisted aside. His skin starts offevolved to deteriorate, and he falls into the waterfall, with his limbs falling apart. He dies and supposedly plants his DNA on Earth so that it could have existed. I suppose the motive of this scene is to show that humanoid extraterrestrial beings are accountable for their existence on Earth.

The first half of the film is excellent. I admire buildup. The two main scientists are trying to discover these “Engineers” on an alien planet, indicated by using megastar maps found throughout Earth. The Engineers are assumed to be the creators of human existence; the humanoid at the start scene becomes an Engineer. I find it humorous that Meredith, the Weyland Corporation employee, controls their excursion. It’s symbolic to Ph.D. researchers who must be held constantly.

Throughout the first 1/2, mainly, it became highly philosophical and spiritual. I recognize that Ridley Scott desired to take it this way; he believes most technological know-how fiction films do not cover those subjects once they need to. During their transit to the alien planet, which takes years in cryosleep, David (the android) observes Shaw’s (the woman archaeologist) desires. In the dream, she is a bit of a woman, and her dad is on what appears to be a digging day trip. A cross necklace sometimes appears over the photo inside the goal; this symbol will become crucial afterward. She and her dad talk about what occurs after death, and her dad says it is something like paradise. She asks why he says so and replies, “Because’s what I choose to believe.”

Being an android stricken with the aid of his life, David is the primary motive for all the hassle that ensues. At one point, he asks Charlie Holloway (Shaw’s love interest) why they created him. Holloway replies, “Due to the fact we should.” David will ask if Holloway might be satisfied if he requested his author for that query and were given an identical answer. Many points like this are in the movie, which helps propagate the existential dilemma inside human thoughts. The whole philosophical part of the film is primarily based on the “best query” regarding who/what created us and why, who made the writer and why, and so forth. I suppose the crucial end in the film to this query is that there is no solution, and never could be. It’s about dwelling with existence and enjoying it the quality you may.

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It’s not precisely known why David infects Holloway with the black fluid. It’s either due to his mammoth interest or receiving orders from Peter Weyland, secretly hiding on the delivery. After Holloway is infected by taking the drink offered to him by David, he visits Shaw in her room. She’s determined that the Engineer’s DNA is a fit for human DNA. Holloway says they’ve discovered their creators and tells her she can take her father’s cross off now. She refuses to, announcing they don’t know who created their creators.

We learn that Shaw cannot bear youngsters, and they are quite upset about it. The two continue to sleep together that night time. And it is easy to see that something in Holloway’s gadget might be in her system now. On their subsequent excursion outside, Holloway turns too ill and finally ends up volunteering to be immolated to avoid spreading the infection. The event turned into demanding for Shaw, but Holloway’s death did not have a lot of an impact on the plot.

After Holloway’s demise, David checks Shaw for infections inside the scientific bay. David insists that she take off her go necklace for the body experiment. She complies, and David takes the cross. She learns that she is three months pregnant. It’s also discovered that it’s “not a traditional fetus.” Almost immediately after mastering this, she says, “I want it out,” and screams, “Get it out of me.” Ten hours ago, she became desperate to have a baby and now desires an abortion. She would not understand whether or not it is risky. However, she assumes it is. David reflects on the situation and says, “It should feel like your God abandoned you.” The symbolism right here is obvious.

The subsequent scene is one of the most disturbing moments in a film, not simply due to the photograph issue but also the emotion. Shaw escapes from the clinical bay and unearths the emergency surgical procedure pod to eliminate the developing fetus. She reveals that the pod is supposed to be for male patients only after soliciting a cesarean section. I locate it abnormal that it’d be calibrated for male sufferers handiest. There’s symbolic importance to this; I haven’t figured it out. Instead, she proceeds to have an “overseas body” elimination surgical treatment, injects herself with painkillers, and enters the pod. The painkillers are not enough for anesthesia, and the method is painful. Her lower stomach is slit open, and a mechanical arm reaches in and pulls out the alien fetus, which starts squirming violently, trying to get returned internal her stomach.

She’s trapped in the surgical treatment pod with the partly developed alien toddler held above her as her belly is stitched up. She manages to get out of the pod and contain the Alien inside. Since it was shifting around in her stomach, it was possibly gestated enough to live on its very own outdoors. I suppose Ridley Scott changed into relating to this scene and some others when he was asked approximately the score and stated, “The question is, do you move for the PG-13, or do you move for what it has to be, that is R? Financially it makes quite a distinction… Essentially, it’s R… It’s now not just about blood; it’s approximately very demanding ideas.”

What occurred next really threw me off. This threw me off because the temper set from the closing scene changed into completely lost and forgotten. There isn’t any point ever made using every interior of Shaw’s alien fetuses. She re-enters the medical bay and discovers that Peter Weyland, the founder of the Weyland business enterprise, is alive and aboard the ship. But her pain continues to be virtually provided.

So Peter Weyland is too antique to be alive (manifestly being stored alive by using era–transhumanism) and desires to invite the Engineers to increase his life. His man or woman is a person who is now not popular, dying and desperately clinging to existence. He should have mechanical assistance from a match he wears to walk into the buried delivery with the Engineers. He would not even get to ask his query to the new Engineer before being battered to death by it. I bet he got his answer.