Forty years later, “Alien” remains at the apex of sci-fi horror films

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Forty years later, “Alien” remains at the apex of sci-fi horror films
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The film presents a workers’ view of space: there are none of Stanley Kubrick’s robotic astronauts or George Lucas’s mythical knights

SUSPENDED ABOVE a lattice is a stony egg. Its shell is cracking, and a lurid yellow light gleams from within; a green gas seeps out. Above is a single word, “ALIEN”. Beneath is one of the best taglines in the history of film: “In space no one can hear you scream”.

It was then that Ridley Scott, at the time something of a science-fiction sceptic, got his chance. The British director had only made one feature before—“The Duellists” , a modest period drama—but he had an assured visual approach, honed on hundreds of television adverts. He emphasised the designs of H.R. Giger, a Swiss artist, who had created the uncanny biomechanical look of the film, including the design of the alien itself. Mr Scott’s rendering of the story was significant for three reasons.

Second was the use of deferral. Just as the poster and the trailer give little away, there is a drowsy slowness to the first half-hour of the film as the crew awake from hypersleep to answer a distress call. It is only when they land on a wintery planet and discover a crashed vessel that a sense of unease creeps in. All of a sudden, a strange entity attaches itself to the face of Kane , the executive officer, in a terrifying jump scare.

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