Prometheus (2012)

Like the titan Prometheus, Ridley Scott is sometimes treated like the man who brought science-fiction fire to the American cinema, if only for his impressive one-two punch of Alien and Blade Runner.  With Prometheus, Scott returns to his roots and, so to speak, mankind’s in a sci-fi epic that finds its protagonists exploring the genesis of man.  But while the scale is epic, the result is somewhat lukewarm, successful on many levels but in other places suffering from its servitude to its own mythology.

Funded by elderly tycoon Peter Weyland (Guy Pearce), a team of scientists led by archaeologist Elizabeth Shaw (Noomi Rapace) travels to a distant world after disparate hieroglyphics point to humanity’s origins.  In search of “The Engineers,” mysterious beings that may have seeded Earth with the potential for life, Shaw and her colleagues soon discover that their destination is filled with horrors, and that Weyland employees Meredith Vickers (Charlize Theron) and the android David (Michael Fassbender) have their own agendas.

While Scott protested (perhaps too much) that Prometheus wasn’t quite a prequel to the Alien franchise, he later compromised by conceding that Prometheus was linked to Alien and contained prequel-like elements, insisting all the while that Prometheus needed to be taken on its own terms.  Since I’ve only seen the original once, when I was perhaps too young (indeed, my best memories of the film come from its place in Disney World’s “Great Movie Ride”), I can appreciate Prometheus as its own entity but can’t help recognizing how the movie very nearly falls apart because of its connection to the original series.

Screenwriter Damon Lindelof caught a lot of flak for ending Lost (with Carlton Cuse) without addressing much of the series’ mythology, instead focusing on the characters and their story arcs.  It seems that Lindelof is pulling the same trick here, introducing a mythology which the characters pursue but which the audience never quite comprehends.  Case in point:  the film begins with an Engineer planting the genetic seeds of human DNA on Earth millennia ago, yet the rest of the film abandons this premise in favor of Engineers who want to destroy Earth.  While the audience doesn’t need to be spoon-fed answers (although that happens a few times in the movie, often when characters say “Listen to me” or “You mean to tell me...?”), it’s insulting to the viewer when characters literally leave the confines of the film to seek answers, presumably in a sequel.

But wait! you cry.  Doesn’t it matter more how the characters are affected by their quest for answers?  Well, sure, except in Prometheus characters enter the film with questions and leave it to pursue those same questions, with no discernible development in between.  The only catharsis in the film comes in a last-second jump moment that finally and explicitly concretizes the connection between Prometheus and Alien.  While it’s a recognizable payoff, it’s more Easter egg than satisfying conclusion, as if we’re meant to cheer and not to recognize this isn’t an ending but rather a tease for Prometheus 2.  (A comparison:  it’s the same thing as if The Dark Knight had ended with Batman chasing after The Joker – cut to black – before showing us that Bane was breaking into Wayne Manor at that moment; end credits.  Thank heavens the Nolans are smarter writers than Lindelof.)

It’s unfortunate that Rapace, the ostensible star, has been given so little to do in this and Sherlock Holmes: A Game of Shadows, her American blockbuster debuts, since she’s probably a very qualified actress (I’ve never seen her Girl with the Dragon Tattoo but have only heard promising things).  Indeed, the only actor who distinguishes himself in the cast is Fassbender, who does fascinating work as David.  While an android is supposedly emotionless and inhuman, Fassbender imbues David with several very subtle characteristics, including his fan-worship of Peter O’Toole’s Lawrence of Arabia and his burgeoning disdain for his xenophobic (and robophobic) fellow travelers.  He’s a bit like Dr. Manhattan from Watchmen, seemingly unfeeling but ultimately saying everything with a twitch as potent as a sob.

All of this would seem to suggest that Prometheus is a terrible movie, downright rubbish with only a Fassbender in the rough to redeem it.  Surprisingly, such isn’t quite the case with Prometheus.  Rather, this is a film that succeeds by being bizarrely compelling, if only as a spectacle.  Much of this is due to Scott’s dexterity as a storyteller; even if the story signifies nothing in the end, it’s told not by an idiot but by a skilled craftsman who knows exactly where to deploy his sound and fury.

If I were to sum up the one emotion I felt during the film, it’s “dread.”  Not dread of a bad movie without a refund, but dread – fear – terror – for the characters I shouldn’t have cared about.  Like a great horror/thriller ought to, Prometheus managed to get me to murmur, “No, no, that’s not good.  Don’t do that” time and time again as, perhaps predictably, the humans make a series of bad choices that leads to their inevitable extermination.  There’s no jump moment to rival the “last supper” scene in the original Alien, although an invasive surgical procedure got me squirming and led the guy two seats over to abandon his place in our row until the worst had passed.

Though I felt cheated by the way I hadn’t been given a full movie (much the same reaction I had to Harry Potter and the Deathly Hallows, Part 1, the reason I waited to rent Part 2), what prevented me from asking for a refund was that the story, while incomplete, was well-told.  Though Lindelof drops the ball a bit, Scott swoops in for a save and turns Prometheus from a fumble to a field goal (but a touchdown it ain’t).  If nothing else, it's ensured that this will not be the last time you see the world "Alien" on this site.

 Prometheus is rated R “for sci-fi violence including some intense images, and brief language.”  The terrors that await the crew of the ship are not for the faint-hearted, and such terrors include (but are not limited to) (POTENTIAL SPOILERS) entanglement, impalement, asphyxiation, smashing, decapitation, bludgeoning, incineration, and evaporation.  I can’t remember any off-color language, although Idris Elba has a hilarious verbal seduction scene with Charlize Theron.