Prometheus (2012)

Prometheus 2012
Prometheus 2012

Movie Details

Prometheus (2012)


They say that frustration takes its rightful place among the strongest motivators to action. I am interested in its study because, in my opinion, the bitterness born of the inability to understand and accept certain terrible things is the leading theme of Ridley Scott’s latest film. Malicious people would probably add that a similar set of unpleasant emotions may also accompany disappointed fans after leaving the cinema hall.

In the prelude to Prometheus, the Briton expresses his imbued with Kubrick’s sensitivity, and after a short interlude on the Isle of Skye, he moves the action to the endless darkness of space and introduces us to the android David, who watches over the crew’s cryo-sleep. Those who want stimulation with visual stimuli will be extremely pleased from the very first scenes – the scale of the set design and Wolski’s virtuosity combined with Scott’s reverence create a truly stunning effect. I would even go so far as to say that Prometheus is a true audiovisual masterpiece, capable of competing for the title of one of the best-made sci-fi films in general – it does not matter whether we are looking at a majestically drifting ship or traversing the bowels of an alien complex with the crew. . It is worth mentioning that the legendary director uses the benefits of 3D technology with due subtlety and maturity.

Scott has always been one of the artists who scrupulously implemented the motto in their work that female figures are not decorative; on the contrary, from the first titles in his work he seems to have a special affection for his heroines. Prometheus is no exception to this rule, as Elizabeth Shaw’s character design reliably proves. Once again, you can’t take your eyes off Noomi Rapace who plays her. A sensitive, jovial, winged by dreams, irrevocably God-loving doctor, just like Ellen Ripley, only with time puts on her warrior gear. After all, as everyone knows, fire hardens what it cannot digest. Meanwhile, Shaw will go through greater hell than her cult-covered precursor. Thanks to this role, Rapace will probably gain countless new admirers, although it seems that only the sequels will give her character a chance to repeat the success of her predecessor. Despite this, the fact remains that the Swede confirms her status as one of the best artists working today, constantly oblivious to any shortcomings in the script.

The brightest point of the film, however, is definitely David himself, ambiguously portrayed and masterfully interpreted by Michael Fassbender. Stripped of soul and morality, with eyes sparkling with childlike enthusiasm and a mouth twitching with proud contempt, he sometimes brings to mind Roy Batty. Perhaps only Meredith Vickers, wearing an ice mask, a traditional delegate of ossified corporations in this universe, has a more economical facial expression, played with subtlety by Charlize Theron. In the background, a whole range of British actors shine in small but expressive roles, among which viewers will undoubtedly remember Sean Harris as a freak geologist with a skull covered in tattoos. Idris Elba also deserves attention, transporting the archetype of a seasoned sea wolf directly into the star-studded galactic depths. It’s a pity, however, that most of the characters leave you feeling underused and paperless.

Prometheus, a unified plot, as announced, operates in the thicket of ideas regarding the origins of humanity, but unfortunately the solemn atmosphere is blurred by immature (often comedic) accents. The main problem of the script is the inconsistent and imprudent behavior of the crew, who flow through LV-233 like an ecstatic phalanx of teenagers, far from the image of professionals standing on the threshold of a momentous discovery. In fact, some deaths deserve the attention of the jury responsible for awarding the honorary Darwin statuette, not the best dialogues, just as individual events sometimes appear unnatural. Moreover, the script is heavy with missed opportunities and ubiquitous clichés.

Closer to “Blade Runner”
It is difficult for me to guess what the final contribution of individual screenwriters was, although Spaihts is said to have borne the burden of the characters’ psychological characteristics. However, knowing his previous works, I would suspect mainly the creator of the series Zagubieni of obstructive action . Damon Lindelof has already become known as a trickster, a third-rate illusionist and a wandering magician. In fact, what else can you call someone capable of weaving the illusion of multi-story interpretations, while in reality he is only scratching with a sword on the frozen surface of the lake? In keeping with tradition, the TV scriptwriter poses big question marks and avoids answering. Attentive viewers will certainly pick up some clues and be able to connect the facts, but the critical threads will only be concluded in the sequel. Perhaps the author himself has no idea about clarifying still others.

As always, I approached Prometheus with an open mind, but it’s hard to shake the memory of Scott’s assurances. We know what his goal was when producing the film, and unfortunately it’s hard to call it a fulfilled ambition, but this also gives us another lesson in humility when dealing with the marketing of American studios. Am I trying to say that the film is completely gutted of horror elements? Not at all. The mood strikes a familiar chord several times, but overall there is little left of the tension that is the hallmark of the universe and the sword of Damocles hanging over the characters. Prometheus is closer in line of kinship to Blade Runner than to Alien .

This would, of course, be a huge advantage if it weren’t for the above-mentioned shallow scripts. There is also plenty of action, but the fight for survival abandons the form of hunting or dancing in the dark, and this time the heroes jump into the hands of multi-pound arguments. Not everyone will be enchanted by the “smooth” locations, as some design solutions clearly reveal space opera inspirations.

The film’s drawbacks include the music by Marc Streitenfeld, which has a Williams-like flair. It’s true that in some fragments it fits like a fist to the nose, but overall it fits nicely with the picture, and the main theme that remains in the memory is worthy of thunderous applause.

I regret to say that, unlike the British director’s previous SFs, this time we received a barrel of honey half mixed with teaspoons of tar. Although it may be better than average Hollywood blockbusters, I expected more from the intellectual caliber of the creators. Prometheus is just a prologue, a fragment of a larger story that doesn’t feel comfortable functioning alone. I look forward to continuing this, while advising Scott to select his best colleagues more carefully. Perhaps it is worth launching someone in an escape capsule and continuing the journey in a slightly different company? It’s a pity about the good form of the master, who treated us with a very decent piece of SF cinema.

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