PROMETHEUS

US/UK, 2012, 124 minutes, Colour.
Noomi Rapace, Michael Fassbender, Charlize Theron, Idris Elba, Guy Pearce, Logan Marshall- Green, Sean Harris, Rafe Spall, Benedict Wong, Kate Dickie.
Directed by Ridley Scott.

‘Hugely anticipated’, as they say. Here is Ridley Scott, after thirty three years, returning to Alien territory (and not forgetting androids thirty years since with Blade Runner). He has also absorbed something of the quest of Stanley Kubrick in 2001: a Space Odyssey.

The film looks quite magnificent at times, though very dark and foreboding. While there is some earth light at the beginning (a dig on the Isle of Skye in 2089), the action is inside the space ship Prometheus (who defied the Titans for power for humans) or on the desert and rocky locations on a distant planet or inside the caves which are brittle with machines – and mysteries.

On the narrative level, the plot is basic: a 2093 mission is sent from earth to find the planet suggested by cave drawings that literally point to space where scientists can explore whether these aliens created humans, comparing DNA samples; work on the planet paid for by a rich, aged company owner (a made-up Guy Pearce); the interactions of the commander, an icy Charlize Theron, and the rather relaxed captain, Idris Elba. The key characters for the drama are the scientist, Noomi Rapace (familiar to many from the Millennium films) and an android who has something of a robotic manner and demeanour but is also charming, Michael Fassbender. Needless to say, the exploration does not go well, especially for the scientist who discovers that she is pregnant with an alien. (Plenty of suggestions about that creature emerging from John Hurt so long ago.) There is a final crisis, some heroism, explosions – and the possibility for a sequel.

But, the plot has many strange holes and improbabilities, notably that of the pregnancy and how the scientist deals with it (and recovers so instantly to go into heroic action).

But, Ridley Scott seems to be on the same kind of quest as the astronauts in 2001. Kubrick’s Everyman character was called Dave. This time the android is called David. The Prometheus expedition does attempt to go beyond the infinite. But, there is no benign monolith here which could suggest the transcendent, even the divine. The creators here are malevolent. They destroy as well as create – so who is responsible for humanity (especially if they lack humane qualities)? The scientist chooses to believe in the transcendent – has a cross around her neck, a gift from her father, and refers to 2094 as the year of Our Lord, 2094. And she finally decides to go in search of the creators.

We humans don’t have all the answers, the film suggests, but, despite cruelty and death, we must go on searching.

1. The science fiction tradition? Ridley Scott’s films? Aliens, androids? 21st century exploration?

2. Widescreen colour, the spaceship, exteriors and interiors? The planet, the landscapes? The natural, the constructed? The interiors? The machines?

3. The special effects, space travel, the visualising of the monsters, the hologram of the universe, its control? The crashes and explosions?

4. The contrast with Earth, the Isle of Skye, the caves, the images?

5. 2089, the discoveries, 2093 and the expedition? The ending in 2094, the Year of Our Lord, Elizabeth Shaw and her wearing the cross? Choosing to believe?

6. The title, the spaceship, the reference to Prometheus, his challenge to the Titans? His defeat?

7. Elizabeth and her work, with Charlie Holloway? On the Isle of Skye? The caves, the discovery, Holloway and his explanations with the slides, the indications of the creatures pointing to the planets? The mission? The visualising of the creature on Skye, the self-destruction?

8. Weyland? The expedition? His speaking to them in the hologram? His aims? The contrast with the reality, his own immortality? The ship, its task? His creating David, seeing him as his son? His business? Vickers as his daughter and her resentment?

9. The character of Vickers, coming out of hibernation, her control, icy personality, decisions on the ship, interactions with the captain, her robotic manner, her resentments, her relationship with the captain? Her ultimate fears, decision to return to Earth, her death?

10. The captain, his easy offhand manner, his work on the ship, control, examining the evidence? The interaction with Miss Vickers, sexual? His playing the concertina? His observations, his final decisions, saving the Earth? Crashing the Prometheus?

11. The cryogenic situation, Vickers coming out, Shaw coming out and her being sick, the crew, the engineers, the scientists? The meetings, the explanation of the missions? Shaw and Holloway and their aims? Their theories about the creators of humanity? Their own experiences? Searching the planet, finding the head, bringing it back, the explosion? The study of the DNA – and the match with humans?

12. The philosophical issues of creation, the creatures who were created, relationship to the creators? Robotics? Humanity, souls? The benevolent creators or not? The holograph of the universe, the control? The monsters emerging? Their devouring Millburn and Fifield? The discovery that the planet was a war station, an arsenal? The mystery of creation, the mystery of destruction – for a new creation?

13. Shaw’s background, David watching her dreams, her father, his death, the gift of the cross, her affirmation of belief?

14. The character of David, the android, robotic yet human? Weyland saying he had no soul? Rigidity of manner, walk, behaviour? Yet respectful service? Doing things when asked? His also being a creation? His dealing with the crew, the discoveries, the mission? His poisoning of Holloway? The grim death? The impregnation of Elizabeth Shaw? His malevolence? The search, the setup with Weyland, his going on the reconnaissance trip? Contact with Shaw? His head being removed – but his still being alive?

15. Shaw, the search, the mystery, the communication, the creature alive, its taking over? The attack? The cave being a spaceship?

16. The staff on board, their collaboration? Fifield and Millburn, their investigations? Fifield as mercenary? The monsters, their trust, destruction? The threats to the other members of the crew?

17. The build-up to the climax, the destruction of Weyland and his group? Vickers and her running to the spaceship? The captain and his control? The time for Vickers to freeze herself? Her coming out of the ship? David and his contact with Elizabeth Shaw? The captain and the crew deciding to ram the spaceship? The explosion and destruction? The crashing to ground of the debris, Vickers’ death? Shaw’s escape?

18. Shaw, finding David, saving him, the prospect of future travel? Her not wanting to return to Earth? Still wanting to discover the truth about the creation of humanity?

19. The overall impact of the film – its solemn approach to its subject? The philosophical and religious discussions? The implications about the meaning of creation and humanity? Set in the context of a space adventure, the horror elements – and the implausibility of so many of the episodes (especially with the pregnancy of Elizabeth Shaw, her going to the machine, getting rid of the creature, the visualising of the creature, stapling herself – and yet ready to go into intense action)?

20. The contribution of this kind of space exploration, philosophical exploration to popular imaginings of the universe and audiences asking questions?