Summer Review #3 -- Prometheus

Cinematic rarities are surprises that make your head spin and that make your brain work itself to pleasant exhaustion. Rare is a gem that dares to ask existential questions and make the audience think long after seeing it. Such is the case with Prometheus, Ridley Scott's first science fiction offering in 30 years and a return to exciting, imaginative genre filmmaking. 

**THIS REVIEW CONTAINS SPOILERS**

After archaeologist Elizabeth Shaw (Noomi Rapace) discovers cave drawings that could represent the answer to humanity's inception, she receives funding for an investigative space expedition from the Weyland Corporation. On the Prometheus ship, Shaw joins a team that includes her colleague Charlie Holloway (Logan Marshall-Green), android assistant David (Michael Fassbender), corporate bigwig Meredith Vickers (Charlize Theron) and pilot Janek (Idris Elba). Once the ship lands on a planet that Shaw and Holloway had pinpointed as the planet of origin, the crew's discoveries threaten their relationships, sanity and their very lives... 

I have always loved films that entertain through the analytical lens of introspection and Prometheus is a prime example. Its contemplative nature and gorgeous visuals blend seamlessly with the story's sense of wonder, while its theories on mankind give the screenplay an edge that not many works possess. The only understandable kink in the chain is that the Alien mythology is so rich and its background so full of possibilities, it is infeasible to condense its beginnings within a philosophical context AND cram this entire origin story with its hypotheses into two hours. That is exactly what sequels are for and if any franchise requires them, it is this one. We cannot expect a black-and-white, open-and-shut single film set in the universe of no less than six entries; if anything, we expect a detailed start followed by a gradual concept evolution and get it in Prometheus. I hope for sequels and I hope Scott is on board, since each feature should have more potential for debate than the last.

The notions of life, death and religion are explored throughout, but not too much via actions or plot developments. Interestingly, they are examined through and interwoven into the prism of character relations. We see these reflections in Shaw and David's relationship, which seems to be at the core of the film's thought process. Even the principal character's first name gives us a clue to this dynamic and the twists in its arc. According to the Bible, Elizabeth means "consecrated to God". The archaeologist's attitude toward religion certainly justifies the significance, but it is also her role as the lead seeker AND human that is likely to sanctify her, in her eyes. Contrary to Shaw, David is a human creation, an Imago Dei construct made, of course, in the image of man. Nobody expects him to feel or believe because he apparently does not have a soul, yet it is David that eventually rescues Shaw, which begs a question -- is David the narrative's true survivor? One could argue that he was not, since he had not been naturally born, but who gets to define life and how do we classify it?

The script looks at the idea of creation from a fresh perspective as well. Just like Greek mythology credits Prometheus as the creator of mankind, humans have created David and programmed him to serve their needs. With any and all of his conceivable freedoms compromised, he brings to mind the David/Goliath duel by becoming the little guy that outlives his makers against all odds. No, names are not coincidences in this tale. Also worth noting is the fact that Shaw and David are the only survivors and that both are incapable of generating new life, except under extreme circumstances, as is the case with Shaw's inadvertent pregnancy. In the end, this dichotomy demonstrates how, while sometimes unable to procreate, humans are always capable of extermination. The film shows humans as the ones who create the infamous xenomorph race liable to destroy them and any other life, paradoxically giving birth to the ultimate killer. Therefore, the Engineers are not the only race intending to and able to annihilate us. We have proven that we can do it quite well ourselves, thank you.

The performances are flawless, with Rapace and Fassbender being the best actors in the cast. Having seen the Millennium Trilogy and Prometheus, I firmly believe that Rapace is one of the bravest and toughest actors out there. After revering the original Alien for nearly two decades, I did not think that I would ever say the following, but the actor's fearless resolve is a match to Sigourney Weaver's on-screen authority and intensity. Her Shaw does everything humanly possible for her mission, with her religious convictions simultaneously providing motivation and solace in her darkest moments. On the other hand, Fassbender's portrayal of the eternally cryptic David is one of the most nuanced and subtle performances you will see this year. We never know what the android is up to. His curiosity has the potential to transform into unpredictability at any instant which, in turn, can become amicability or hostility. We are never sure where he stands, and Fassbender plays with this uncertainty, his performance hovering above the fine line of tranquility and concern. Theron is ambiguously menacing as the secretive Weyland player, her cool demeanor radiating indifference with a hint of vulnerability. Elba provides some great comic touches as the wry captain and the rationality of Marshall-Green's scientist is the perfect antithesis to his partner's unwavering passion.

I cannot overlook the moody writing, cinematography and music. The screenplay by Damon Lindelof and Jon Spaihts asks terrific questions, giving enough closure for the audience to discuss what had transpired and make up their own minds. The film is beautiful to watch in its steely apocalyptic glory -- cinematographer Dariusz Wolski has done a masterful job -- and Marc Streitenfeld's music is an enchanting mix of triumph and sorrow, with doom just around the corner.

Prometheus is not a work to everyone's taste. Its enigmatic temperament and lack of instant answers may leave some viewers frustrated, but it is contemplation and debate that are the film's main objectives. Its guise is that of a science fiction blockbuster, but its spirit is that of true philosophy, leaving cinephiles grateful for having been introduced to a fascinating new world.

10/10