**** (out of 5)
Directed by: Ridley Scott
Greek mythology. Mysterious ancient cave art. David Lean’s Lawrence of Arabia. Gorgeously rendered visuals. Those expecting a straightforward prequel to Alien, heavy on action in a grimy future, will be disappointed. This film has received mixed reviews from critics and may have underperformed at the box office. This is a film that revels in the cryptic, that raises big questions it may not be interested in answering. Is this to its detriment?
I cannot resist an opportunity to delve into the mythic, so this will begin with Prometheus himself. He is from Greek myth, and is associated with creation and striving for knowledge. He is a favorite subject in art, with the gold statue at the base of NYC’s Rockefeller Center being a familiar rendition.
Of course there are differing versions of his story, a Titan who in one version is a trickster who competes with Zeus for head god status, and in another a wise ally who aids Zeus in overthrowing his own Titan family. In either case, Prometheus creates humans out of clay, then steals fire from Mt. Olympus and gives it to mankind. In some versions he also gives knowledge, an effort to help prevent Zeus from destroying humankind. Zeus is enraged at this theft and interference.
As punishment Zeus orders Prometheus to be chained to a rock on a mountain top. Every day an eagle comes, pecks out, and eats his liver, which regenerates every night due to his immortality. Zeus punishes us by sending Pandora and her box of woes. Hercules (Heracles) frees Promtheus in one version.
There are elements in the Prometheus myth that are near universal. What does Prometheus have to do with the film? Viewers may differ on their answers.
A plot summary that doesn’t spoil the moviegoing experience is somewhat tricky. What can be said is that Drs. Shaw (Noomi Rapace) and Holloway (Logan Marshall-Green), a romantic pair, find the same pictoral configuration in ancient art across the world. Smaller figures, bent down before a larger figure, pointing to six orbs in the sky. This is interpreted as an invitation to find other beings who may have visited Earth long ago.
The scientists find a galaxy (never mind how) corresponding to the orbs, with a moon that could sustain life. This moon’s name is LV-223. Some critics ponder if this references Leviticus 22:3. I like that this question is even raised, although it seems like overthinking even to me.
The Reyland Corporation, headed by an elderly man wanting to aid in the quest to find these other beings, finances their expedition. A disparate group of scientists, pilots (led by Idris Elba), a robot manservant (Michael Fassbender), and the tightly wound captain (Charlize Theron) of their vessel, the Prometheus, land on this moon and seek answers. Did these beings visit us? Create us? Why? Is this truly an invitation?
Some critics say the film suffers due to thin characterization, but I didn’t find this true of two of the characters. Dr. Shaw is intelligent, inquisitive, a gentle soul who wears a cross, but who can call on inner fierceness when needed. Rapace convinces in all aspects of her character, an extraordinary actress. She has a unique ability to play characters who have a hardness and softness to them at the same time.
David is the most enigmatic and complex character. His creator, Dr. Reyland, says David has no soul. Does David feel emotion? Does David have his own motivations? He is a being created by humans, who are in turn seeking their own presumed creator. How do the other characters treat him? David is obsessed with the film Lawrence of Arabia. He dyes his hair O’Toole blonde, moves with exaggerated Lawrencian grace, and quotes the film. What is the significance of this? Is he like a person with autism who copies preferred audial and visual patterns? Or is there something else? Another question with multiple answers. Michael Fassbender is exceptional, totally believable as David, who may have the most screen time.
The other characters are different degrees of stereotypes, but thanks to the excellent cast have a suggestion of depth beneath.
Dr. Holloway thinks of himself as a maverick, is undeserving of Dr. Shaw’s love, and is dismissive of David. I did not like this man. But wasn’t supposed to.
Charlize Theron’s captain is basically there to stomp around in an impossibly tight unitard and be an imposing presence who cares only for self-preservation. Idris Elba’s pilot provides the common sense grounding, and clear resolve, to the affairs.
The three other scientists are basically a punk rockish guy & a poor man’s Richard Dreyfuss, whose actions make no sense in a key scene, and the female character who isn’t Hollywood Pretty enough to be a major player.
Another criticism is that it’s failed at its attempt at greater meaning. Dimestore philosophy, unnecessary gore, plot holes, thin connection to the Alien universe, incoherence.
The following is true. Questions are raised…then dropped. Actions are performed…for no apparent reason. The same stimulus…yields different responses. Severe physical trauma…then strenuous physicality. Characters act petrified in one situation…then as foolhardy as a randy teen in a horror movie going out alone to check out a noise.
So did I find this movie effective in probing the mysteries or is it self-indulgent claptrap? I may have been too happy to have some intellectual cinematic meat to chew on to care. Sometimes people aren’t rational, and act in contradictory ways. Sometimes the bigger the question the more convoluted the answer. A filmmaker isn’t obligated to spell everything out. I really enjoyed chewing on the intellectual scraps offered here, while still recognizing its shortcomings, and believe that if nothing else it provides outstanding fodder for conversation.
Film Sloth 