Aliens: Crash Course Film Criticism Video Lecture | Know more about Hollywood Film Industry: History, Production, and Criticism - Art & Craft

While it’s easy to love a straight-up superhero
movie or car chase flick, not all films fit
neatly into one genre.
Take the Alien series, for instance.
You’ve got some sci-fi thriller movies with
action and horror elements thrown in.
And, not to mention, a protagonist who arguably
helped pioneer the trope of a “strong female character.”
In this episode, we’re gonna focus on the
second film in the series, James Cameron’s
Aliens—the theatrical cut, not the extended
special edition.
With its carefully-crafted plot points and
ensemble cast of characters, this sci-fi action
classic rewards a deeper look.
On the one hand, you can think about Aliens
as a war movie, and unpack the battle between
human Marines and vicious aliens through a
racial and cultural lens.
Whether or not that’s what Cameron intended.
Or you can look at it as an action movie,
and analyze Ellen Ripley as a hero through
a feminist lens.
Because her character is part of what’s
really special about this film, both for fans
and historically in cinema.
I’m Michael Aranda, and this is Crash Course
Film Criticism.
[intro music plays]
The original Alien came out in 1979. Directed by Ridley Scott, it’s slow, methodical, and spooky—a horror movie in space.
Whereas Aliens is a different kind of film—an
intense war movie… in space.
Alien starred Sigourney Weaver as Ellen Ripley,
a space trucker whose crew responds to a distress
call that brings them to LV-426, a desolate
planet with an alien life form that incubates
inside humans.
Through her smarts and tenacity, Ripley survives,
blows the alien into space, and seals herself
into a hypersleep pod with her cat, Jones.
Because Alien straddles the science fiction
and horror genres, Ripley’s sort of a combination
of an action hero and the “final girl”
movie trope.
The term “final girl” was first used by
the film scholar Carol J. Clover to describe
a pattern in slasher movies.
A typically-virginal woman tends to be the
only survivor of a killer’s murdering spree,
fights them, and lives to tell the story.
And James Cameron’s Aliens picks up her
story later…
57 years later.
Ripley is found by a salvage ship and brought
back to a Gateway station near Earth.
She has to defend herself in a room full of
suits for destroying a ship while fighting
an alien she can’t prove existed, which
doesn’t go well.
Ripley: But I'm telling you that those things exist.
Van Luen: Thank you Officer Ripley, that will be all.
Ripley: Please, you're not listening to me.
So she gets demoted and is forced to work
in a loading dock.
Eventually The Weyland-Yutani Corporation,
a sinister conglomerate also known as The
Company, asks her to be a consultant on a
military expedition that’s being sent back to LV-426.
Now there’s a colony there that—surprise—they’ve
lost contact with.
Suffering from PTSD, Ripley rejects their
request, following the pattern of most characters
on a hero’s journey.
But she eventually agrees to go back, feeling
a special duty to protect any survivors and
eradicate the aliens, an enemy no one knows
better than she does.
Ripley: Just tell me one thing, Burke. You're going out there to destroy them, right? Not to study... not to bring back.
...but to wipe them out.
Burke: That's the plan. You have my word on it.
Ripley: All right, I'm in.
These become the two instincts that most define
her as a character: the drive to protect and
the duty to kill.
The basic plot is similar to the original
film: the aliens get loose, people run, and
most of the Marines die in a lopsided fight
early in the film’s second act.
But after an intense battle with the alien
queen, Ripley survives, along with her found
family: a surrogate daughter named Newt who’s
the only surviving colonist, a Corporal named
Hicks, and an android named Bishop.
The plot of Aliens came from the brain of
James Cameron.
He was given the opportunity to write a treatment
by 20th Century Fox producers David Giler
and Walter Hill on the strength of his original
Terminator script.
His treatment hit every note they hoped for
in a sequel, so he was given 18 million dollars
and sent to Pinewood Studios in England to
make it.
The British film crew buckled under Cameron’s
exhaustive shooting schedule and inexperience.
Cameron had guerrilla filmmaking expectations,
where 12 hour days were normal to finish projects
on time and under budget.
The 1st A.D. even led a revolt against Cameron
that was eventually put down by Producer Gale
Ann Hurd and effects guru Stan Winston.
After the movie was finished, it had massive
success, with a worldwide gross of 130 million
dollars off of an 18 million dollar initial
investment.
Plus, the awards and accolades piled up, from
Oscar nominations to wins for visual effects
and sound effect editing.
Aliens is now considered a seminal classic
in sci-fi, horror, and 80s pop culture.
Its structure and themes are incredibly effective
and stand the test of time.
You can look at the original Alien as a haunted
house film set on a spaceship.
Ripley was the lone survivor after her companions
were picked off one-by-one by a horrific alien
monster.
The same as any Halloween or Friday the 13th
film, really.
But Aliens takes the basic elements in a different
direction.
It’s more of an action or war movie, where
a squad of marines is pitted against a squad
of aliens.
Roger Ebert wrote of Aliens in his 1986 review,
“...when I walked out of the theater, there
were knots in my stomach from the film's roller-coaster
ride of violence.”
He gave it a “Thumbs Up” but also couldn’t
really recommend it.
So it’s intense, at least for 1986.
Cameron has said that the marines in this
film were meant to parallel a group of American
Army soldiers toward the end of their tour
in the Vietnam era.
He wanted to make it feel like a gritty, realistic
expedition.
With a fairly tight budget, he used story
elements like the beeping motion-tracker to
build tension.
Like the shark in Jaws, sometimes not seeing
the monster is even scarier.
It’s classic horror storytelling!
Hudson: Six!
Ripley: That can't be that's inside the room!
Hudson: It's readin' right, man. Look!
Not to mention, he didn’t have to spend
money he didn’t have on huge swarms of alien creatures.
Cameron also says he was trying to show how
cockiness and over-reliance on technology
can bring about the downfall of large military
institutions.
And it’s true that his space Marines are
basically a tool of The Company, and don’t
come off so well.
He mentions how Americans’ advanced weapons
didn’t matter in the Vietnam war, because
they didn’t understand how to fight their
low-tech but very stealthy and determined enemy.
But, whether or not Cameron intended this,
painting both military adversaries and other
races as savage aliens is not uncommon in
media.
Especially when you look at texts through
a cultural or racial critical lens.
There are lots of examples of narrative fiction
where aliens are described as faceless, dangerous
enemies that are pitted against our usually
white, Western-coded heroes.
During the Cold War, for instance, alien invasion
was a common plot point in sci-fi and horror
in the United States.
Think of films like The Invasion of the Body
Snatchers, which really struck a nerve at
the time.
People were afraid of foreign invaders sneaking
into our society, attacking us, and robbing
us of our identities and way of life.
Other aliens in fiction are much more primitive
than humans.
Think of A Princess of Mars, which was adapted
into the film John Carter, or even James Cameron’s
later film, Avatar.
These aliens can be seen as stereotypical
portrayals of non-white racial others, especially
native peoples.
And they usually either end up fighting the
heroes or depending on them to swoop in and
save their troubled societies.
So, by one interpretation, Cameron’s choice
to compare his vicious aliens to the Vietnamese
army makes this another film that parallels
xenophobia in the real world.
And even though his main intent was to criticize
The Company, and he might not have been trying
to make a racial commentary, it’s definitely
worth looking at the way Aliens and many other
sci-fi and horror stories portray alien enemies.
Now, despite Aliens being a gritty war movie,
the camaraderie and one-liners from the Marines
are part of what make the film so memorable
and entertaining.
Hudson: Man, get it on!!! You know it!!!
And another huge part of that is the setups
and payoffs in the screenplay.
You can think of Aliens as a series of well-crafted
chain reactions.
A leads to B which leads to C. There’s always
a reason for what’s happening on screen.
By today’s standards, these plot points
might be a little obvious.
But by planting ideas that will come back
around, Cameron lets us anticipate and appreciate
his cohesive vision for the story.
For instance, because the compound is basically
a big bomb, the Marines dump all their high-tech
bullets into Private Frost’s bag and are
told to only use flamethrowers.
But when the aliens attack, Frost is accidentally
set on fire and the satchel explodes, killing
another marine and leaving the survivors with
very little ammo.
Or like when Farrow, the pilot, doesn’t
let her co-pilot explain that something’s
wrong.
Then an alien gets on board and kills her,
so the drop ship crashes.
This strands our heroes, damages the compound—which is a big bomb, as we already know—and forces
a ticking clock that motivates everyone for
the rest of the film.
Overall, a lot of Cameron’s setups and payoffs
work to build up Ellen Ripley’s character,
especially her humanity and heroism.
She’s at the heart of the film, and at the
heart of her story is love, which is one
of Cameron’s self-proclaimed favorite themes
to explore.
And that’s really unusual for an action
movie.
Like, lots of action-packed stories revolve
around traditionally masculine ideals.
There are beefy cars and gearheads in films
like The Fast and the Furious, or brooding
old men in movies like Logan.
Things like anger, vengeance, or power tend
to be at the center of conflicts.
Now, in the Alien series, power is still a
major theme.
But, partially because these movies ultimately
focus on a female hero, it’s interesting
to unpack them through a feminist critical
lens.
There have been countless essays written about
the Alien frankchise from this critical perspective, like
how the aliens could represent fears of sexual
power, rape, or female reproduction.
One of the most horrifying parts of these
movies is also what Ripley has nightmares
about: humans are violated and essentially
become pregnant with aliens, which ultimately
kill them.
Like, the facehugger aliens implant babies
into human chests, which incubate and burst
out in bloody explosions.
Plus…
I mean… it’s a penis.
Just look at it.
So throughout the first film, Ripley can be
seen as a version of the maiden archetype,
a damsel-in-distress running from a horrible
monster.
She fits right into the “final girl” movie
trope, where the last woman standing goes
from helpless victim to defeating the murderer.
By the time Aliens happens, Ripley is a traumatized
action hero, who is haunted by alien implantation
and chest-bursting gore—a very specific
kind of violence.
A sense of duty compels her to return to LV-426
and fight the aliens.
But when she discovers Newt on the base, protectiveness
becomes an even bigger motivator.
You immediately get the sense that Newt becomes
her surrogate daughter, and that the force
of motherly love is powerful.
It compels Ripley to survive in the compound
and fight off the aliens, not only for herself
and for the Marines, but for this young girl.
So, in a way, Ripley transitions from the
maiden archetype in Alien to the mother archetype
in Aliens.
Her character is allowed to be feminine, and
embrace the idea of motherhood and family,
but she’s not excessively weak or emotional,
or made to be the butt of a joke.
This perfectly sets up Ripley and the alien
queen in direct conflict: two mothers are
both protective of their children, and they’re
locked in combat because their goals are in
opposition.
That’s very basic, but also very effective
screenwriting.
And it leads us to one of the ultimate payoffs
of the film: Ripley getting into the power
loader suit to fight off the queen.
This is Cameron planting the seeds for the
climax of the movie, when Ripley’s skill
is the key to protecting her newfound family—Newt,
and an injured Corporal Hicks.
As Ripley yells...
Ripley: Get away from her you *JERK*!!!
we’re all cheering for her and the strength of motherly love.
And audiences weren’t the only ones cheering.
Sigourney Weaver was nominated for the 1987
Oscar for Best Actress for this role—an
honor that hadn’t been given to an action
movie heroine before.
And it was for a protagonist motivated by
love for her found family.
So you’ve got to give Aliens some credit,
whether you appreciate it as a well-constructed
sci-fi classic or for Ellen Ripley’s impact
on female heroes in decades to come.
But it’s also a great example of using film
criticism to look at genre-transcending stories
in multiple ways, which directors may or may
not have intended.
Next time, we’ll talk about the critically-acclaimed
Selma, a historical drama film about the life
of Dr. Martin Luther King Jr., and the role
that media can play in shaping our idea of
what actually happened in
the past.
Crash Course Film Criticism is produced in association with PBS Digital Studios. You can head over to their channel and check out a playlist of their latest shows,
like Eons, PBS Infinite Series, and PBS Space Time.
This episode of Crash Course was filmed in
the Doctor Cheryl C. Kinney Crash Course Studio
with the help of these [nice people] and our
amazing graphics team is Thought Cafe.