How far would you go to get your answers?
I watched Prometheus with Sis #1. I suppose I should take this moment to profess an eternal love for the new cinema, because it is so wonderful, so convenient.
The creation of mankind and civilisation is credited to the Titan, Prometheus. His namesake, Prometheus, attempts to do the same with a grandiose narrative that interweaves philosophy, mythology, and religion; however, the film comes up short of that, crafting rudimentary blocks and not quite knowing what to do with them. In other words, the fundamental ideas are there, but they are never brought to fruition in the spectacular style that this particular kind of narrative precipitates. But as much as it is exasperating that Prometheus doesn't unlock its full potential in its runtime of a little over two hours, it has brought about waves upon waves of stimulating discussion, and I cannot fully discount the film because of that. In addition, various technical aspects mitigate its storytelling shortcomings (to an extent).
Rating: 2.5/5
- I walked out of the cinema a bit underwhelmed; I think it's because I had read up on the film prior, curious about its level of violence and gore, and, of course, I had stumbled upon spoilers. So I expected some of its biggest moments (i.e., the self-Cesarean, the arm-breaking and helmet-melting) -- and still, I felt terrified before the film began. I was almost prepared to leave, and I had to keep telling myself, "I survived Pandorum [which is similar]: I can do this." In fact, I brought along a bag for me to hide behind. (Feel free to laugh.) I had also entered with low-ish expectations, seeing as word of mouth isn't as positive as I'd have expected. I was surprised, then, to discover that it wasn't as horrific as the websites I had read made it out to be. It was still unsettling, but not nauseating. Even so, as I said earlier, I wasn't feeling the film. I felt that the plot was a little thin and the resolution unsatisfying, and that the characters were, for the most part, one-dimensional and non-engaging. (More on this later.)
- However, after coming home and reading some more about Prometheus, I have come to appreciate it further. This did me in. I read it the night before, but nothing stuck, because I wasn't familiar with the events that were referenced in the post. (Spoilers can do only so much.) Upon watching it, then, it clicked. I love films that are rich -- be it in a subtle manner or not -- with mythology, and I love those that are capable of provoking discussion. This encapsulates both. On that note, then, I feel like a second viewing is in order. Not now, of course, but whenever it's released on DVD.
- I found the characters, as mentioned earlier, flat and uninteresting. This would've benefited from a much smaller cast; characters would be allowed to develop, and for the audience to connect with them. Besides David and Elisabeth (the latter to a certain extent), I couldn't care less about the others because of how cursory they felt. One can argue that this isn't the point, that these people were created to be killed in fantastic ways, but there also has to be an element of drama. I know -- even without the spoilers -- that characters are going to die because of the nature of the film. Still, at the same time, because it isn't some mindless slasher flick or the like, because it happens to be a film about people caught in a tragic situation, there has to be a reason to care.
- The thing about this is, there are seeds planted for some of the characters' motivations, but they were never seen to the end. Elisabeth's [apparent?] faith in God is never prevalent throughout, which would've complemented Charlie's steadfastness toward the Engineers. It would've also created conflict between her faith and what she finds, e.g., the contrasting ideas of a loving and a destructive God, which would've made for a clearer motivation for her actions, other than just, "These aliens are evil and want to destroy Earth!" It was mentioned in the end, yes, but I didn't like that it had to be spelt out for us like that. I also forgot about what her father had said in her memory, and its significance, until she repeated his words in the end. See, I understand that that sequence had to have some importance (nothing in film is coincidental); however, it was like, "Shit, we forgot about that. Quick -- throw in a few verbal references to her cross and make her repeat what her father said, so it'd seem like we didn't!"
- Since we're on the topic of fathers, Vickers … spent so much of the film as an indeterminate character in that we don't know who she is and what she wants, it's difficult to connect with her on an emotional level. I felt like the nature of her relationship with Weyland should have been revealed earlier, for us to understand better what she does that she does in the film, because when that happens, we are too bogged down with too much information to process. (David poisoned Charlie, and Charlie's dead! So is Millburn, and Fifield's mutated and murderous! Elisabeth just performed a Cesarean on herself!) She wants the mission to fail, so she can take over her father's business? Perfect. Now she can help Elisabeth kick some Engineer ass, and learn how to be selfless! Boom, character development!
- David's a bit of a tough nut to crack, I don't know. He's meant to be an ambiguous character because of what he is, but what he does at times is questionable. Has he assimilated too well, to the point that he has learnt how to feel? I can't help shake off the feeling that he does what he does to Charlie because of the latter's attitude toward him. I mean, there appears to be no other reason …? Charlie becoming infected has no bearing on drawing the attention of an Engineer, who were all assumed dead at that point. It makes no sense, too, to kill the one person -- or two, if he had known what would've transpired between Charlie and Elisabeth, and what would've resulted from that (i.e., Elisabeth's death) -- who could've helped him bring Weyland to an Engineer.
- Elisabeth and Charlie's relationship feels too superficial for me to grasp the emotional impact of what happens to them. How did they meet? How long have they known each other? Did they have plans with each other, following this expedition?
- In conjunction, I feel like with Prometheus, the characters are mere tools to advance the plot. For one, characters become dense in order to bring about some form of horror, and it is so frustrating, because from what we see of them either before or after their brief moment of boneheadedness, they aren't like that. Millburn and Fifield know when to flee when the crew discovers the Engineer corpses, but call out to an alien cobra amid unidentified black goo, back where the corpses are? Charlie discovers that he's sick, has a freaking worm in his eye, and keeps it from Elisabeth and sleeps with her, but informs her of his condition the next day and knows well enough to ask for death in the form of a flamethrower? Janek doesn't want the Engineer onboard, and proposes ramming the ship into the Engineer's, but leaves his post when two of his crew members are lost in a foreign place, and doesn't instruct his people not to engage what is obviously a mutated Fifield, especially after seeing what had happened to Millburn and Charlie?
- How is it that no one cares that Elisabeth is dripping with blood and amniotic fluid, and has a long line of staples across her abdomen, when she stumbles into Weyland's chamber? How is it that no one cares that Elisabeth had an alien inside of her, and that alien is still on the ship with them? I know that they know (David does, at least, and unless one of Weyland's goons hitting her in the abdomen is a pure coincidence -- which I doubt, because Weyland does order him to shut her up. I mean, of all places?), so how is it not a big deal?
- The previous three points -- well, two and a half -- culminate in this: what happens to Charlie and Elisabeth reeks of Mystical Pregnancy. To summarise: This trope is about female characters who become pregnant as a result of otherworldly insemination as a mere plot device. It's often a terrifying experience, and once it's over, it's never spoken of again. I hope it sounds familiar, because that, as we can see, is what happens word for word in Prometheus. You cannot help but feel that becoming pregnant and delivering what will become the Xenomorph's ancestor is the crux of Elisabeth and Charlie's relationship, because otherwise, there isn't much else going on for them as a couple in the film. It doesn't help that Elisabeth is established as sterile at first, too; it's like, she cannot be of consequence until she is able to perform what is expected of her biologically -- I mean, note how her character picks up after she realises that she's pregnant. Next, the birth? Is uncomfortable to both Elisabeth and the audience. I've seen a lot of comments on the film about how people have clutched their abdomens in fear during the operation, how … awful it is in general. The sequence itself is claustrophobic and unnerving -- it is meant to incite that kind of reaction. Finally, and because I made a big deal about it in the former point so I won't belabour it further, the pregnancy is forgotten, never to be mentioned of again. Ding! I think we have a winner here!
- I hated that in essence, this film is about Weyland's quest for immortality. Because this hasn't been done a thousand times, people, and because that it ends in such a horrific manner isn't new either!
- Plot-wise, there is no focus. Is it about finding the truth about our beginning? Is it about being disappointed about what was discovered? Is it about wanting more answers after being disappointed about what was discovered? Is it about stumbling upon a planet full of unpleasantries? Is it about an old man's mission to never die? Is it about the relationship -- or lack thereof -- between a being and its creator? Is it about the imminent destruction of Earth? Is it about the prevention of the imminent destruction of Earth? Is it about faith and morality? Is it about the birth of the xenomorph? Prometheus is all of these things, and it is none of these things, too. It's incoherent; there's no particular theme that pulls it together. Much like the characters, the potential is there for something a little more realised, but is squandered on disjunct sequences. Again, I return to the example of Elisabeth. Her being a more distinct protagonist, and the motif of her faith, could power the bulk of the film: It would serve as a foil to the other characters' selfishness and arrogance (Charlie's insistence on a higher being; David's … what, desire to please Weyland and prove himself better than humans; Vickers's wish for her father to die, so she can inherit his business; and, of course, Weyland's aspiration to become immortal). It would set up a conflict between her idea of God and the nature of the Engineers. That ending? Would be better as the film's second act. Then depending on what she finds on the Engineers' homeward, her faith is either strengthened or broken down. Boom! Character development, and a more satisfying resolution!
- It's a bummer that for a film about finding answers, not a lot are given. So much of it hinges on their discovery of the Engineers and the Engineers themselves, but in the end, neither the characters nor we know a thing about them. Instead, answers are shucked aside and treated as fodder for a possible sequel. (I hate when books have blatant sequel hooks for endings, and I hate when the same is done for films, too.) Things I would like answers for: Why did the Engineer at the beginning of the film do what he did? I know that it's connected to David's assertion that sacrifice must come before creation, but what prompted the Engineer to do that? What did David tell the Engineer?
… I had some more, but nothing is clicking at the moment.
- I hated that after finding out that Vickers doesn't mean real harm, the title of villain falls on the Engineer. No! I wanted answers from him, not a rampage!
- In spite of all that discussed above, Prometheus does have its merits. The two leads are phenomenal. One must see Michael Fassbender's performance to believe it, and Noomi Rapace made Elisabeth, for all of the latter's shortcomings [as a character], more accessible to the audience. The cinematography and sets are gorgeous, too. I loved that the film was [relatively] bright and not drenched in dark, dull tones to emphasise how despondent and frightening its events are.
- I want hair like Noomi's in this. The curls! The length! The colour!
- I … don't have a lot of casual remarks about this film. In fact, I'm a bit tired from talking about the film, because while it's so thought-provoking, a lot of that stems from how frustrating and exhausting it can be at times. So, I might return to this if I have a chance to catch it a second time. Sounds like a good note to end off on, then …
- … Hang on. Before I do, I should like to point out that I am sick, sick, sick of the trailer for Abraham Lincoln: Vampire Hunter airing before every film I watch at the cinema. I'm sorry, it doesn't look appealing, and this trend needs to die before it can even begin.
The creation of mankind and civilisation is credited to the Titan, Prometheus. His namesake, Prometheus, attempts to do the same with a grandiose narrative that interweaves philosophy, mythology, and religion; however, the film comes up short of that, crafting rudimentary blocks and not quite knowing what to do with them. In other words, the fundamental ideas are there, but they are never brought to fruition in the spectacular style that this particular kind of narrative precipitates. But as much as it is exasperating that Prometheus doesn't unlock its full potential in its runtime of a little over two hours, it has brought about waves upon waves of stimulating discussion, and I cannot fully discount the film because of that. In addition, various technical aspects mitigate its storytelling shortcomings (to an extent).
Rating: 2.5/5