Nothing’s gonna save us now

    

                                       © Brandywine Productions / 20th Century Fox

    

As the sorry events of Brexit have unfolded over the past two-and-a-half years, I’ve heard a voice in my head.  It’s the voice of Private Hudson, a character in the masterly James Cameron-directed action / sci-fi / horror film Aliens (1986) who was played by the late, great Bill Paxton.  Before the aliens show up, Hudson is a swaggering, show-offy git.  After they show up, he becomes a quivering, whiny git.  In the process, thanks to Paxton’s entertaining performance, he provides the film with most of its memorable lines.  And these lines make an appropriate narration to each stage of the Brexit process as things go from bad to worse to catastrophic.

     

So in the run-up to the referendum when Boris Johnson, Michael Gove, Liam Fox, Nigel Farage and co were spouting nonsense about how a ‘leave’ vote would free the United Kingdom from the shackles of European Union bureaucracy and officialdom and send it on a new course as a swashbuckling, buccaneering, entrepreneurial, low-regulation economy sailing the seas of international trade and commerce like a cross between Singapore and Captain Blackbeard, I heard the early-on-in-Aliens Hudson bragging: “I’m ready, man.  Check it out.  I am the ultimate badass!  State of the art badass!  You do not want to f**k with me…!  We got tactical smart missiles, phase plasma pulse rifles and we got sonic electronic ballbreakers!  We got nukes, knives, sharp sticks!

     

However, once the aliens, sorry, the EU negotiators turned up, the tone rapidly changed.  Each time I’ve seen the waxen-faced Theresa May trudge back from another unsuccessful round of talks in Brussels, I’ve heard the later-in-Aliens Hudson lament: “Maybe you haven’t been keeping up on current events but we just got our asses kicked, pal!

 

And now, with May’s hapless cabinet in panic mode and attempting to start preparations for an increasingly likely no-deal Brexit – potentially just 100 days away – I’m hearing Hudson’s even-more desperate voice: “That’s great!  That’s just f**king great, man!  What the f**k are we supposed to do?  We’re in some real pretty shit now, man!  Game over, man!  Game f**king over!  What the f**k are we gonna do?  What are we gonna do?

    

No doubt if (more probably when) we arrive at a no-deal Brexit on the cut-off date of March 29th next year, the voice I’ll be hearing will be Hudson in full-scale meltdown: “They’re coming outta the walls!  They’re coming outta the goddamn walls!  We are F**KED!

    

Seriously, things are looking bad.  With a meaningful vote on Theresa May’s Brexit plan, which most Westminster politicians seem to hate whether they’re in favour of Brexit or not, pushed back to January, meaning there’ll be bugger-all time to come with an alternative before the end of March, the spectre of a no-deal Brexit looms horribly large.  The cabinet has been reported as making two billion pounds available for emergency no-deal preparations, including such things as the worrying-sounding provision of clean drinking water.  (The chemicals and gases needed for water purification are currently imported from the EU.)  Defence Secretary Gavin Williamson has just admitted to putting 3500 British soldiers on standby, presumably in case, among other reasons, food shortages lead to civil disorder.  In the midst of all this, business organisations like the CBI and the Federation of Small Businesses have professed to be ‘watching in horror’.

   

If it wasn’t so terrifying, it’d be hilarious to compare the musings on a no-deal Brexit made by Tory politicians in the past, when it seemed just a remote possibility, and now.   Only months ago, foreign secretary Jeremy Hunt described a no-deal Brexit as ‘a mistake we would regret for generations.’  Interviewed in the most recent Sunday Telegraph, Hunt has suddenly become unconvincingly chipper: “I’ve always thought that even in a no-deal situation, this is a great country, we’ll find a way to flourish and prosper.”

      

                                                                                        © Daily Mirror

      

Still, while I’ve marvelled at the astronomical incompetence of Tory politicians over this, I’ve also had to marvel at the epic uselessness of Jeremy Corbyn, leader of the Labour Party and the supposed official opposition in parliament.

     

As I’ve said in the past, there have been aspects of Corbyn I’ve quite admired – but when it comes to Brexit, I’ve been suspicious of his motives ever since he imposed a three-line whip in the House of Commons to make his MPs vote in favour of the activation of Article 50, which triggered the whole Brexit process.  Since then, Labour’s approach has veered between the incoherent, with Corbyn and his Brexit secretary Keir Starmer contradicting each other, and themselves, constantly; and the maddening, with Corbyn missing countless open-goals at Prime Minister’s Questions over May’s dire Brexit record; and the galling, as it’s gradually dawned on me that Corbyn actually wants Brexit to happen.

    

It shouldn’t surprise me, I suppose.  For all his endorsements of a ‘remain’ vote before the 2016 Brexit referendum, Corbyn has never really liked the EU that much.  He’s been anti-Europe at various times in the past, opposing Britain’s membership of the then-EEC in the 1975 European Communities Referendum, opposing the Maastricht Treaty in the 1990s and opposing the Lisbon Treaty in the 2000s.  I doubt if his attitude differs much from that of his old left-wing guru the late Tony Benn, who once claimed that “Britain’s continuing membership of the (European) Community would mean the end of Britain as a completely self-governing nation.”

   

At the moment, I’ve read so many conflicting accounts of Labour’s response at Westminster to the postponement of the meaningful vote that my head has begun to hurt.  It appears that Corbyn has tabled a motion of no-confidence in Theresa May, as opposed to no-confidence in May’s government.  The second of these no-confidence motions would have been binding – a vote would have to be taken – and, if passed, would have resulted in a general election.  However, the no-confidence motion in May that Corbyn is proposing isn’t binding and May doesn’t have to allocate it parliamentary time.  And even if it’s passed, it won’t cause the fall of the Conservative government.

    

I’d have thought that with all the dire predictions about what will happen in the event of a no-deal Brexit at the end of March – twenty-mile lorry tailbacks at Dover, airplanes grounded, supermarkets running out of food, hospitals running out of medicine, the pound going through the floor, the economy going belly-up – Labour would be throwing everything at Theresa May’s government just now, up to and including the kitchen sink.  Sure, people have pointed out that if there was a no-confidence vote in the government, the Conservatives (and their friends in the DUP) would probably close ranks and win the vote with slightly-superior numbers.  But it’d only take a few Tory MPs with a sense of public duty to vote the other way for the motion to win.  And sure, Labour has been scraping behind the Tories in opinion polls recently and aren’t guaranteed to win an election just now.  But if they committed themselves to holding a second referendum on Brexit (which is what most Labour activists and supporters want), wouldn’t they stand to pick up many extra votes from frustrated and frightened Remainers? 

     

Surely initiating a no-confidence vote – with the distant chance that a party pledged to holding a second referendum that might end the madness wins power – is better than doing nothing?

     

But no, Corbyn is just faffing around and pretending to be doing something while secretly waiting for the clock to count down.  Then he’ll get the Brexit that, as a traditional leftie, he quietly wants; and, he reckons, the Conservative Party will be so discredited in the ensuing economic chaos that the British population, impoverished and hungry, will suddenly embrace his brand of socialism.  Then, like disaster capitalists in reverse, Jeremy and his gang get to build a socialist utopia out of the ruins.  How they find the funds to do that, with the post-Brexit economy tanking, is anyone’s guess. 

     

                                   © 20thCentury Fox

        

Seeing Corbyn’s non-oppositional, sit-on-his-hands approach to the Conservative government and its Brexit policies, I find myself thinking of another movie, Philip Kaufman’s Rising Sun (1993), in which Sean Connery recites an old proverb to Wesley Snipes: “If you sit by the river long enough… you will see the body of your enemy floating by.”

     

Trouble is, the whole riverbank on which Corbyn and the country generally are sitting is in serious danger of detaching itself and crashing cataclysmically into the river before the bodies of any Tory governments go floating by. 

     

Deathlog 2017 – Part 1

 

© Eon Productions

 

The Grim Reaper seemed to cull a record number of big-name celebrities in 2016: David Bowie, Prince, Umberto Eco, Muhammed Ali, George Michael, Carrie Fisher.  2017 has seen less carnage, but nonetheless some people I admired have passed away.  Here’s a post about them.  Links are provided to those people whom I’ve already written about on Blood and Porridge.

 

January 19th and 21st saw the deaths of British writers Hilary Bailey and Emma Tennant, who by a sad coincidence were friends and occasional collaborators.  I read some of Bailey’s work in the New Worlds Quarterly paperback series that she’d edited in the 1970s – the series was a reincarnation of the famous science-fiction magazine New Worlds that her one-time husband Michael Moorcock had edited during the previous decade.  I’m unfamiliar with Tennant’s work but have a tenuous link with her.  She belonged to the aristocratic Glenconner family who owned the Glen, a mansion in the hills a few miles southeast of my Scottish hometown of Peebles.  I’ve hiked past the Glen many a time and, according to Tennant’s Wikipedia entry, she lived there as a child and remembered it as “the strangest place possible.”

 

January 27th saw a further literary demise, of novelist and filmmaker William Peter Blatty.  He authored The Exorcist (1971), which was made into the ground-breaking and massively successful horror movie of the same name two years later.  In 1990 Blatty directed the film’s second sequel, Exorcist III, which has its admirers; and in 1980 The Ninth Configuration, a movie ignored on its release but now viewed as an offbeat classic.   Film critic Mark Kermode described Configuration as “a breathtaking cocktail of philosophy, eye-popping visuals, jaw-dropping pretentiousness, rib-tickling humour and heart-stopping action.”

 

© Warner Brothers

 

Also checking out in January were American character actor Miguel Ferrer – Albert Rosenfield in Twin Peaks (1990-91, 2017) – on February 19th; acclaimed English actor John Hurt on January 25th; Scottish politician Tam Dalyell on January 26th; and, on January 25th, the American film and TV actress Mary Tyler Moore.  Through her sitcom The Mary Tyler Moore Show (1970-77), she was instrumental in getting American television to portray women in a more proactive and empowered fashion.

 

January 26th saw the death of a more conventional American TV performer, Mike Connors, who played tough-guy private investigator Mannix from 1967 to 1975.  Mannix fans presumably included a young Quentin Tarantino, who named a character after the P.I. in 2015’s The Hateful Eight.  Two days later saw the passing of keyboardist and guitarist Geoff Nicholls, who played in legendary Brum heavy-metal band Black Sabbath from 1980 to 2004.

 

February was had a relatively low death toll, although on February 17th we said goodbye to another Twin Peaks alumni, Warren Frost, who played the kindly Doc Hayward in its first two series in 1990-91 and briefly in its 2017 revival series.  And the much-loved movie character actor Bill Paxton died on February 26th.

 

March 14th saw the death of veteran American film producer Jack H. Harris, who’ll surely be remembered as ‘Father of the Blob’.  Not only did he produce hoary sci-fi monster movie The Blob in 1958 (starring Steve McQueen as an unfeasibly old teenager) but he masterminded its 1972 sequel Beware! the Blob, which was directed by none other than J.R. Ewing himself Larry Hagman and thus became known as ‘the movie that J.R. shot.’  Furthermore, Harris produced the 1988 remake, directed by Chuck Russell, and at the time of his death was trying to get a second remake off the ground.  On March 18th seminal rock-and-roller Chuck Berry passed away, and the following day the masterly American illustrator and comic-book artist Bernie Wrightson died too.  Checking out on March 26th was actress Darlene Cates, splendid as Johnny Depp and Leonardo Di Caprio’s mother in the 1993 movie What’s Eating Gilbert Grape?

 

© MGM / United Artists

 

American funny man Don Rickles died on April 6th.  I wasn’t a fan of Rickles’ humour (“Who picks your clothes?  Stevie Wonder?”) but as an actor he was memorably nasty in Roger Corman’s X: The Man with the X-Ray Eyes (1963) and memorably pathetic in John Landis’s Innocent Blood (1992).  One day later, the English stage, film, TV and radio actor Tim Pigott-Smith passed away.  My juvenile self will always remember Pigott-Smith for playing: (1) Hotspur (to Jon Finch’s Henry IV, David Gwillim’s Hal and Anthony Quayle’s Falstaff) in the 1979 BBC production of Henry IV Part 1, which I was made to watch at school; and (2) Thallo in 1981’s Clash of the Titans.  Meanwhile, bowing out on April 12th was Charlie Murphy, elder brother to Eddie Murphy and a distinguished comic performer in his own right.  His Charlie Murphy’s True Hollywood Stories turn on Comedy Central’s Chapelle’s Show (2003-2006) was hilarious, perhaps most of all when he described an alleged encounter with Prince, where the diminutive funky singer-musician showed an unexpected flair for basketball.

 

We also saw the departures of American blues singer and guitarist Lonnie Brooks on April 3rd; hugely influential British comics artist Leo Baxendale on April 23rd; and American guitarist John Warren Geils Jnr, mainspring of the J. Geils Band on April 11th – how I loved the Geils song Centerfold when I was a fifteen-year-old.  American director Jonathan Demme, whose CV included Caged Heat (1974), Crazy Mama (1975), Melvin and Howard (1980), Stop Making Sense (1984), Swimming to Cambodia (1987), The Silence of the Lambs (1991) and Philadelphia (1993), died on April 26th.

 

And American character actor Clifton James died on April 15th.  James was best-known for playing redneck police officer Sheriff Pepper in two Roger Moore James Bond movies, 1974’s Live and Let Die and 1975’s The Man with the Golden Gun.  (In the latter film, Sheriff Pepper turns out to be less of a redneck than expected.  Holidaying with his wife in East Asia, he refuses to have his photo taken with an elephant: “Elephants!  We’re Demy-crats, Maybelle!”)  For a more nuanced Clifton James performance, however, check out his supporting role in Richard Lester’s Juggernaut (1975).

 

© 20th Century Fox

 

Another notable movie policeman passed away the following month, on May 10th: Michael Parks, who played Texas Ranger Earl McGraw in Robert Rodriguez’s From Dawn to Dust (1996), Quentin Tarantino’s Kill Bill: Volume 1 (2003) and the Rodriguez / Tarantino collaboration Grindhouse (2007).   Parks also played the villainous Jean Renault in the first two series of Twin Peaks (1990-91) – so yes, he was another Twin Peaks casualty of 2017.  Another man who was no stranger to violent action-thrillers, character actor Powers Boothe, died on May 14th.  Boothe’s career saw him perform in such gritty movies as Walter Hill’s Southern Comfort (1981) and Extreme Prejudice (1987), Oliver Stone’s U-Turn (1997) and Robert Rodriguez’s Sin City (2005).

 

Other notable actors departing in May included the cinema’s longest-serving James Bond, Sir Roger Moore, who died on May 23rd; and English character actor Geoffrey Bayldon, who passed away on May 10th.  Bayldon appeared in British horror films like The House That Dripped Blood (1970), Tales from the Crypt and Asylum (both 1972) but will be remembered by British TV viewers my age for playing a medieval wizard transported by magic to the present day in the children’s fantasy show Catweazle (1970-71).  Meanwhile, the musical world took a hit on May 18th with the death of yet another grunge-band frontman, Soundgarden’s Chris Cornell.

 

From Wikipedia

 

Before taking leave of May, we should raise a glass of vodka to the memory of Soviet Air Defence Forces officer Stanislav Petrov, who died on May 19th.  Petrov is credited with saving the world from nuclear destruction in 1983.  Suspicious of an early-warning report about an American missile approaching the USSR, he disobeyed an order to launch a retaliatory strike.  The initial report turned out to be false, the result of a malfunction in the satellite tracking system.  Phew.  Looking at the shitty state of international politics in the early 21st century, I suspect we’ll need a few more people of Stanislav Petrov’s calibre in the years ahead.

 

June 2017 wreaked havoc in the world of children’s TV entertainment.  On June 9th it claimed Adam West, square-jawed star of the campy old Batman TV show (1966-68); on June 19th Brian Cant, narrator of the revered British stop-motion-animation shows Camberwick Green (1966), Trumpton (1967) and Chigley (1969); and on June 5th, the venerable Peter Sallis, who provided the voice for Gromit in Nick Park’s Wallace and Gromit quintet.  Sallis also played Norman Clegg in all 295 episodes of the BBC’s seemingly never-ending sitcom Last of the Summer Wine (1973-2010) and appeared in a couple of Hammer horror movies.  I love the fact that he was in both the Hammer film Curse of the Werewolf (1961) and the Wallace and Gromit epic Curse of the Were-Rabbit (2005).

 

© Aardman Animations

 

Anita Pallenberg, 1960s icon, actress and muse to the Rolling Stones died on June 13th and Dave Rosser, guitarist with the reformed American alternative-rock band the Afghan Whigs, died on June 27th.  Finally, June 30th saw the passing of Barry Norman, English movie critic and host of the BBC’s long-running Film… review show from 1972 to 1998.  I disagreed with many of Norman’s opinions – he could be annoyingly conservative and prissy in his tastes – but he performed his duties with undeniable wit, charm and aplomb.  And a long time before the Internet, when the UK media didn’t seem particularly interested in films as an artform, his weekly show was an invaluable lifeline for cinephiles like myself.

 

To be continued…  Alas.

 

© BBC

 

Bill Paxton too? That’s just f***ing great, man…

 

© F/M Entertainment / DeLaurentiis Entertainment Group

 

Despite my best efforts, this blog in the last couple of years has tended to resemble a series of obituaries.  I’m afraid this tendency must continue today as I’ve just heard the news that the American actor Bill Paxton has died at the age of 61 from complications following surgery.

 

In American movies of the 1980s and 1990s Paxton seemed ubiquitous.  He turned up in the populist likes of Stripes (1981), Weird Science (1985), Commando (1985), Navy Seals (1990), Predator 2 (1990), Tombstone (1993), Apollo 13 (1995), Twister (1996) and Mighty Joe Young (1998).  Though not all his films could be described as ‘populist’.  I suspect I’m the only person in the world who remembers he was in Jennifer Lynch’s arthouse misfire Boxing Helena (1993) with Sherilyn Fenn and Julian Sands.

 

From all accounts an affable and good-humoured Texan, he probably had the right temperament to get on with certain directors who had the reputation of being hard-asses.  He worked with Walter Hill in Streets of Fire (1984) and Trespass (1992) – the latter movie I like to think of as ‘the Bills versus the Ices’, since it’s about a pair of treasure-hunting firemen played by Paxton and Bill Sadler falling foul of a pair of gangsters played by Ice Cube and Ice T.  He worked too with the no-nonsense Katherine Bigelow in the haunting horror-western Near Dark (1987), playing one of a band of vampires who roam the dusty prairies and prey on unsuspecting cowboys.

 

© Universal Pictures

 

But it was with Bigelow’s former beau, the single-minded James Cameron, that Paxton got some of his most famous roles: as a punk clobbered by a naked and just-arrived-from-the future Arnold Schwarzenegger in The Terminator (1984) (“I think this guy’s a couple of cans short of a six-pack!”), the alternatively bragging and blubbering man-child Private Hudson in Aliens (1986) and the sleazeball car salesman Simon who pretends to be a secret agent in order to get into Jamie Lee Curtis’s pants in True Lies (1994).  He was also in one other movie Cameron made in the late 1990s – I can’t remember its name but Leonardo DiCaprio was in it.  Whatever happened to him?

 

The great thing about Paxton was that though he frequently performed in a supporting role, he was often the most memorable thing in the movie.  His characters were commonly loud and obnoxious and had an inflated sense of their abilities, but they were very funny as a result.  This was never more so than with the motor-mouthed Private Hudson in Aliens, who despite everything else that’s going on in that movie manages, just about, to steal the show.  Before the aliens show up, he’s a swaggering, show-offy git – “Hey Ripley, don’t worry.  Me and my squad of ultimate badasses will protect you…  We got nukes, we got knives, we got sharp sticks!”  And after they show up, he’s a quivering, whiny git – “Hey, maybe you haven’t been keeping up on current events but we just got our asses kicked!”  Inevitably, many of the people paying homage to Paxton on Twitter last night were tweeting another of his Aliens quotes, the brief but legendary “Game over!”

 

© I.R.S. Releasing

 

Occasionally, he got a chance to step forward into the shoes of leading man and the results were excellent.  He was tremendous in Carl Franklin’s One False Move as Dale ‘Hurricane’ Dixon, the good-natured but naïve hick sheriff who’s doesn’t seem to know what’s coming when a trio of murderous psychos (including one played by the movie’s co-writer, Billy Bob Thornton) flee the law in Los Angeles and head for his town.  You find yourself seriously fearing for him as the movie nears its end.  He also impressed in Sam Raimi’s A Simple Plan (1998) about three people in a wintry mid-western town – Paxton’s blue-collar plodder, his wife (Bridget Fonda) and his slow-witted brother (Billy Bob Thornton again) – whose lives are drastically changed, seemingly for the better but in reality much for the worse, when a mysterious crashed plane sets a huge cache of money in their laps.  Also worth checking out is the horror film Frailty (2001), which Paxton directed as well as starred in, alongside Matthew McConaughey and Powers Boothe.

 

Six years ago, I unexpectedly found myself present at the making of history – and I unexpectedly found myself thinking of Bill Paxton too.  I was living in Tunis at the time and one January morning I wandered down to the centre of the Tunisian capital to find out why a huge crowd of protestors had gathered in front of the Ministry of the Interior building.  This would have been unthinkable just 24 hours earlier – Tunisian dictator Zine El Abidine Ben Ali’s security goons would have dragged any protestors away, thrown them into a cell and beaten the shit out of them.  This mass protest, it transpired, was the tipping point of the Arab Spring.  Ben Ali fled the country that same day and other Arab dictators started toppling like dominoes soon after.  Anyway, I noticed how some protestors were holding signs towards the ministry building that bore the message GAME OVER! – Private Hudson’s famous line from Aliens.

 

I know it’s improbable, but I’d like to think this showed that even the murky and complicated world of North African Arab politics had been affected by the acting talent and sheer entertainment value of the great, but now unfortunately late, Bill Paxton.

 

© Times of Malta

© Brandywine Productions / 20th Century Fox

 

God save the Queen

 

© Brandywine Productions / 20th Century Fox

 

Scene: The living room of the Parochial House on Craggy Island during a 1996 episode of Father Ted.  The elderly and infirm Bishop Jordan, one of a visiting trio of church dignitaries, has just been explaining how he had a heart attack last year and needs to avoid having sudden surprises and shocks.

Father Dougal (bellowing at the top of his voice): AAAAAHHHHH!

Bishop Jordan nearly suffers another heart attack on the living room sofa.

Father Ted (seeing Bishop Jordan’s distress): Dougal!  What are you doing?!

Father Dougal: Sorry, Ted – I just remembered.  Aliens is on after the news!

Father Ted: Dougal, for God’s sake!  (To the stricken Bishop Jordan, who has almost collapsed off the sofa.)  I’m sorry, Bishop Jordan!  (To Dougal.)  Did you not hear what he’s saying about his heart?

Father Dougal: I know, but it’s just that it’s the Director’s Cut!  Come on everyone, let’s all have a lads’ night in!

Father Ted: Dougal, just shut up!  (To Bishop Jordan.)  Ha-ha.  A heart attack?  That’s rare enough these days.

Bishop O’Neill (trying to help Father Jordan back onto the sofa): There were certainly a lot of prayers said for Bishop Jordan –

Father Dougal: I don’t know why we can’t look at Aliens

Father Ted: Dougal!  Bishop O’Neill is speaking.

Father Dougal: But…  They’d love it, Ted!

Father Ted: No, they wouldn’t!

Father Dougal: But bishops love sci-fi –

Father Ted: DOUGAL!  WE ARE NOT WATCHING ALIENS!

 

* * * * *

 

Here’s yet another anniversary that makes me feel ancient.  It’s now exactly thirty years since the James Cameron-directed sci-fi / horror / action movie Aliens was released in the United Kingdom.  A few days from now, it’ll be exactly thirty years since I first laid eyes on it in a crowded cinema in Aberdeen.  And like Dougal in that old episode of Father Ted, I still get irrationally excited when I discover that it’s due to have another airing on TV.  And during the first occasion I watched it, there were a few moments when, like the beleaguered Bishop Jordan, I thought my heart was about to pop.  Yes, Aliens is a film that gets the adrenaline sluicing through you like no other.

 

It’s remarkable that the film achieves this when it’s a sequel.  One of the Great Laws of the Cinema is that, compared to the original films, sequels are almost always rubbish.  Certainly, that law seemed to hold true in the 1980s, when cinema audiences were subjected to such puddings as Halloween II (1981), Grease 2 (1982), Rocky III (1982) and Rocky IV (1985), Jaws 3-D (1983), Rambo: First Blood Part II (1985) and Rambo III (1988), Poltergeist II: The Other Side (1986) and Beverley Hills Cop II (1987).  Oh, and Piranha Part Two: The Spawning (1981), which was directed by a certain James Cameron…

 

Aliens’ task was particularly daunting.  It was to be the follow-up to Ridley Scott’s magnificent haunted-house-in-space movie, 1979’s Alien.

 

© Brandywine Productions / 20th Century Fox

 

It’s unsurprising that while Cameron was shooting the sequel at Buckinghamshire’s Pinewood Studios in the mid-1980s, he had to put up with a sceptical British crew who were of the opinion that this bearded thirty-something Canadian wasn’t fit to kiss the boots of the mighty Ridley Scott.  Mind you, the contempt was reciprocated by Cameron.  A man used to pursuing his vision with the single-minded determination of The Terminator (1984) – the film that he’d directed between the Piranha sequel and the Alien sequel – Cameron was not impressed by his crew’s Great British working practices like stopping every couple of minutes to have a tea-break.

 

The resulting movie shows no disrespect to Ridley Scott or the original Alien.  It simply takes a very different approach to the hideous, slimy, fanged, multi-jawed, acid-blooded title creatures.  Whereas Alien set one of them loose in a giant spaceship and Scott milked the scenario for all the clammy, claustrophobic horror it was worth, Cameron unleashes a whole army of them in and around a base on a distant planet and declares out-and-out war on the bastards, courtesy of a well-armed platoon of space marines who’ve journeyed there in the company of Sigourney Weaver’s Ripley, heroine and sole survivor of the first film.   Yes, there’s clamminess, claustrophobia and horror to be found in Cameron’s creation too, but that doesn’t prevent Aliens from also being one of the best action films ever made.

 

That’s not to say that Aliens is a non-stop rollercoaster from start to finish.  Cameron actually takes his time getting his characters to the base (after contact with the 160-strong space colony there is suddenly and mysteriously lost).  Wisely, and unlike a lot of directors of scary movies who’ve come since, he gives the audience a chance to get to know, and get to like, his characters.  So that when all hell does break loose, halfway through the film, we’re genuinely on the edge of our seats because we’re rooting for those characters to survive.

 

© Brandywine Productions / 20th Century Fox

 

Cameron does such a good job of it that, thirty years on, I still know those characters like they’re dear old friends.  There’s Michael Biehn’s reliable Corporal Hicks, who packs a vintage pump-action shotgun alongside his space-age weaponry (“I like to keep this handy… for close encounters”) and who finds himself in the unexpected position of platoon leader after the aliens’ first onslaught wipes most of it out.  There’s Lance Henriksen’s Bishop, the regulation android whom Ripley – mindful of what happened in the first movie – is extremely wary of; though after he’s saved her and saved the other surviving humans three or four times (even after he gets ripped in half), she accepts that he’s a good, if synthetic, bloke.

 

And there’s the motor-mouthed Private Hudson, played by the great Bill Paxton, who gets the film’s best lines.  This is both before the aliens show up, when he’s a swaggering, show-offy git – “Hey Ripley, don’t worry.  Me and my squad of ultimate badasses will protect you…  We got nukes, we got knives, we got sharp sticks!” – and after they show up, when he’s a quivering, whiny git – “Hey, maybe you haven’t been keeping up on current events but we just got our asses kicked, pal!”

 

But Aliens is hardly a testosterone-fest.  Dougal in Father Ted might have earmarked it for a ‘lads’ night in’ but it’s also, subversively, a chick-flick.  At its heart are no fewer than four powerful female characters.  There’s the splendid Sigourney Weaver, of course, back in the role of Ripley – though it’s in Aliens that both Weaver and Ripley properly achieve the status of cinematic icons.  There’s Carrie Henn as Newt, the waif-like little girl who’s the colony’s only survivor and who, gradually, awakens Ripley’s maternal instincts.  While Ripley spends the original movie reacting to and mainly running away from the horrors around her, it’s thanks to Newt that in Aliens she becomes increasingly proactive and ends up running at them.  Admittedly, that’s when she’s armed with a M41A Pulse Rifle / M240 Flamethrower.

 

© Brandywine Productions / 20th Century Fox

 

And let’s not forget the impressive Private Vasquez, played by Jenette Goldstein, who’s more than a match for any man in her platoon.  “All right,” she snarls at one point, “we got seven canisters of CM-20.  I say we roll them in there and nerve-gas the whole f***in’ nest.”  And when she’s not shooting down aliens, she’s shooting down Hudson’s bullshit, as happens in the following exchange: “Hey Vasquez.  Have you ever been mistaken for a man?”  “No.  Have you?”

 

The film’s final trump card also takes female form: the Alien Queen.  Here, Cameron combines the design of the original alien, by the Swiss artist H.R. Giger, with the concepts of an egg-laying queen termite and of a tyrannosaurus rex.  He creates a twenty-foot foe of terrifying savagery, strength and tenacity.  And when she comes bearing down on Ripley at the movie’s climax, Aliens turns into the Battle of the Big Bad Mamas.  By this time, the Queen has seen her whole hellish brood destroyed and wants revenge.  Meanwhile, Ripley is determined to defend what’s left of her family – Newt and the now-incapacitated Hicks and Bishop – to the death.

 

What more can I say?  Three decades later Aliens is still riveting and I envy anyone sitting down to watch it for the first time – especially on a big screen with a big sound-system.  In the words of Private Hudson: “We’re on an express elevator to hell, going down!”

 

https://www.youtube.com/watch?v=X-Xj24Gdxds

https://www.youtube.com/watch?v=tjhkhi0Ye6s

 

© Brandywine Productions / 20th Century Fox