Aliens will be the ideal sequel. Aliens is the ideal sequel. Empire Strikes Back, while certainly better than Star Wars, was more an elegant segment of the course of a long story, not an independent adventure. However, Aliens is the ideal model for any sequel creator The film is unquestionably connected to the events from the original (even at the point of beginning exactly where the original drama ended at more than 57 years later) and expands upon all the themes and ideas while also defining its own story. The samething, but totally different. Perfect.
It also speaks to the unfaltering vision and cold nerve that is James Cameron (here directing only his third film). Utilizing the rusted out structure from Battersea Power Station to create the massive industrio-grim industrio-hive set-up for the events He was confronted with an experienced British crew who had previously worked on Alien and adored the earth that Ridley Scott walked on. What did be this Canadian punk kid learn? It's a good start, because in this instance, more is definitely more. Not just one, deadly, invincible killer machine, but an entire all-powerful army. In the home field.
As a director and writer, Cameron posited a simple concept. The planet LV-426 on which it was that the initial Alien was discovered by accident, was colonized by Nostromo's parent company Weyland-Yutani. Now communication is lost. The time is now to bring an 'crack' space marines team and also to enlist the aid of a distraught Ripley. Here's the scene Marines (plus Ripley who's always inventive Ripley) against Aliens (plus mom). This was a genre splicing to a degree: the war film was a perfect blend of science fiction and war movie.
A fact that is highlighted by Cameron's obsession with his hardware — he obsesses over the latest technology in weapons.
He was also enthralled by Ripley and immediately understood that this was her story. It is her resiliency and ability to think through the situation that allows her to survive (Newt is an ideal junior model one who has fought through the storm with her own wits). Courage, according to Ripley is the acknowledgment of the fear of life and dealing the fear with wisdom. Weaver was deservedly awarded the Oscar nomination.
Also important is the execution. Cameron took Scott's (and obviously, H. R. Giger's) aesthetics such as gloop, scaly bits, a lota teeth, and long dark, dingy filthy corridors, however, he reinterpreted them into battlegrounds instead of a haunted home. The thing he understood right immediately was that you cannot beat this enemy as well as the stigma or the fear that this endomorph creates is lost. It's only possible to escape. Scott was replaced by his "behind-you" stress with furious that is unrelenting, sweaty-palmed and intense, pant-sucking film. No other movie before or since has encapsulated the audience with such a ferocious fear of danger (audiences and critics even reported physical pain or, even in the exit of the auditorium).
Thematically Aliens also explains the setting further. Central is the continuation of Scott as well as Dan O'Bannon's (the screenwriters who wrote the original script) theory of the bogeyman -What if a living thing was so adapted to survival that it could be regarded as the ultimate killing machine and gained a certain amount of Darwinisitic admiration, even from the prey? Ash in Alien as a lunatic android, however it did, exalted the creature because of its "purity" and even Ripley who was confronted by the shadiness of company boss Burke (Paul Travelr) must admit that "You do not see them fighting one another in a massive percent!" Then it gets really interesting: Alien as giant phallus (and it's now an collection of them) against a female heroine. The feminist subtext isn't really "sub" in any way, Ripley is one of the most powerful female characters in film history. The closest thing to Cameron's heart, and a motif that runs throughout his works is the preservation that of the family unit. With Newt saved and Ripley playing the role of surrogate mother, you only need to add Hick's gentle (but not by any means the dominant) father to create a the perfect familial team (the other survivor is the android Bishop is likely to be a kind uncle or the pet dog , or some other thing). The whole idea is reduced to a stunning conflict of maternal instinctsRipley defending her child Newt; Ripley fighting for her baby Newt while the queen Alien protecting (or perhaps revengeing) her children. It's which is recapped in Ripley's battle cry "Get away from me You're a bitch!" The nature for the animal has evolved to the point that empathy, if not sympathy, is acceptable. If you're looking to keep it going, there is the 'Nam space' metaphor. It's the unseen "gooks" making stealthy attacks, and retreating Yanks completely ruined by a strategy and a mindset that they don't understand (a analogy of US policies in foreign affairs? ).
But none of this academic play does not come at the cost of thrills. Cameron knew that the primary reason of the film was an instinctual reaction. The Aliens action scene's construction and the build-up of tension, and its final action sequence is amazing to look at (the film is literally triggering physical reactions). The characters we are passionate about, embodied by a spirited heroine, who faces an imposing foe in a completely convincing setting. Pure film.