Source; SyFy
Genre; Action, Scy-fi, Fantasy
Director; Ridley Scott
Cast; Noomi Rapace, Michael Fasbender, Charlize Theron
Language; English
Release; Juny,6,2012
Score; 8.5/10
Ridley Scott's "Prometheus" is a magnificent science-fiction film, all the more intriguing because it raises questions about the origin of human life and doesn't have the answers. It's in the classic tradition of golden age sci-fi, echoing Scott's "Alien" (1979), but creating a world of its own. I'm a pushover for material like this; it's a seamless blend of story, special effects and pitch-perfect casting, filmed in sane, effective 3-D that doesn't distract.
A scene at the outset shows a world with apparently only one animal being, a pale humanoid who stalks a high ridge surrounded by spectacular scenery. This person eats something that causes painful vomiting and rapid body decay. The vomit is followed into flowing water, where it seems to morph into living cellular structures. Where is this place? Is it Earth? Who is the being, and why is it alone and naked? Is the scene a visualization of the theory that life first arrived on Earth from outer space?
Cut to a human spaceship in the year 2093, qualifying "Prometheus" for a flash-forward spanning more years than the opening of "2001." The trillion-dollar ship Prometheus is en route to a distant world, which seems pointed to in prehistoric cave paintings. There's reason to believe human life may have originated there. It's an Earth-sized moon orbiting a giant planet, and at first it seems a disappointment: no growing things, unbreathable atmosphere. But the crew notices straight lines on the surface, and as we all know, nature makes no straight lines.
The lines lead to a vast dome or pyramid, and the film will mostly take place inside the dome and the Prometheus. But let's put the plot on hold and introduce two of the crew members: Elizabeth Shaw (Noomi Rapace) wears a cross around her neck and believes life ultimately had a divine origin. Her boyfriend, Charlie Holloway (Logan Marshall-Green), accuses her, a scientist, of dismissing centuries of Darwinism. What they find in the pyramid leaves the question open. Alien humanoids, in suspended animation, incredibly have DNA that's a perfect match for our own. So they could somehow have brought life to Earth — but why? And from this moon where they slumber inside their pyramid, or from another planet around a distant star? Why did they stop here? What are they waiting for?
The film then develops horror scenes comparable to "Alien," although it depends more on action and weaponry than that film's use of shadows and silence. For me, the most spellbinding scenes involve the crew members exploring the passages and caverns inside the pyramid, obviously unvisited in aeons, and their experiences with some of the hibernating alien beings. One of the key members of this crew is David (Michael Fassbender), an android, who knows or can figure out more or less everything, even alien languages, and is sort of a walking, talking, utterly fearless HAL 9000.
Upstaging everyone is Fassbender, who provides the film's real glint of steel, while decentring its dramatic focus. He plays David, a robot who has been designed to look like a highly convincing humanoid, avowedly to avoid scaring or upsetting the crew. While they have been cryogenically frozen during the two-year flight, David has been gliding about like a head waiter keeping everything on board shipshape. But he is – again, more time-honoured tradition – a robot who might decide he has a mind of his own. Fassbender's David is blond; I think his eyelashes may be blond, too, and his English accent has a kind of refrigerated unctuousness. With his eerily Aryan look and stiff-armed walk, he's channelling C3PO and David Bowie's Man Who Fell to Earth. David also, like Wall-E, enjoys old movies, and he models his supercilious manner on Peter O'Toole in Lawrence of Arabia. As in other performances, Fassbender's lower jaw has a tendency to clench, as if suppressing rage or disgust: here it becomes an opaque, robotic mannerism of veiled threat.
When the crew land on that far-off planet, they make a staggering discovery, which for Dr Shaw is pretty much a conceptual orgasm, a moment of almost sexual congress with the unknown. Of course, her troubles begin when they return to the ship. The spacecraft on Alien had the Conradian title of Nostromo. (With his deployment of Lawrence of Arabia, Ridley Scott may also be hinting, at two or three removes, at David Lean's final unrealised plan to film Nostromo, and even be claiming some David Lean epic grandeur for himself.) Prometheus is the titan who was tortured by the gods for giving fire to the humans – but here it is the humans who are tortured and consumed by a new and terrible kind of fire.
It is a muddled, intricate, spectacular film, but more or less in control of all its craziness and is very watchable. It lacks the central killer punch of Alien: it doesn't have its satirical brilliance and its tough, rationalist attack on human agency and guilt. But there's a driving narrative impulse, and, however silly, a kind of idealism, a sense that it's exciting to make contact with whatever's out there.
then, how is the tension of the Prometheus flight crew in searching for answers about the origin of humans and the universe in the vastness of the galaxy and the stars? see the entire answer via the following link ... Prometheus.
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