Alien - Das unheimliche Wesen aus einer fremden Welt ein Film von Ridley Scott mit Sigourney Weaver, Tom Skerritt. Inhaltsangabe: Die Besatzung des. ALIEN (). FSK: 16 Jahre Spieldauer: Min. Beschreibung. Alien – Das unheimliche Wesen aus einer fremden Welt (). „Ich konnte damals mit. Alles zum Film «Alien ()»: Reviews, Trailer, Bilder, Kinoprogramm und vieles mehr.
Alien - Das unheimliche Wesen aus einer fremden WeltAlien - Das unheimliche Wesen aus einer fremden Welt ein Film von Ridley Scott mit Sigourney Weaver, Tom Skerritt. Inhaltsangabe: Die Besatzung des. So beginnt der Science-Fiction-Film "Alien", der fünf Monate nach der US -Premiere am Oktober auch in bundesdeutschen Kinos. ALIEN (). FSK: 16 Jahre Spieldauer: Min. Beschreibung. Alien – Das unheimliche Wesen aus einer fremden Welt (). „Ich konnte damals mit.
Alien 1979 Navigation menu VideoAlien (1979) - Deleted Scenes
Die Alien 1979 von "Cinderella" tragen zart blaue Kleider, wenn das Der Millionär berschritten ist. - Inhaltsangabe & DetailsDas Alien-Franchise ist inzwischen auf eine Reihe mit nunmehr sechs Teilen angewachsen.
Mit einer guten Recherche Alien 1979 Sie sicher gute Rabatte! - NavigationsmenüHier geht's zur Anmeldung. Alien is a science fiction horror film directed by Ridley Scott and written by Dan O'aqin-ebikes.com on a story by O'Bannon and Ronald Shusett, it follows the crew of the commercial space tug Nostromo, who encounter the eponymous Alien, an aggressive and deadly extraterrestrial set loose on the ship. Alien. IMDb 1 h X-Ray HDR R. Directed by Ridley Scott, the original sci-fi classic follows Ripley (Sigourney Weaver) investigating a suspected SOS on. Directed by Ridley Scott. With Sigourney Weaver, Tom Skerritt, John Hurt, Veronica Cartwright. After a space merchant vessel receives an unknown transmission as a distress call, one of the crew is attacked by a mysterious life form and they soon realize that its life cycle has merely begun. Alien (2,) IMDb 1h 56min X-Ray R On their voyage home, the crew of the deepspace tug Nostromo investigate an alien distress signal, inadvertently picking up and bringing aboard an extraterrestrial life form with violent and lethal survival instincts. When a three-member team of the crew discovers a chamber containing thousands of eggs on the planet, a creature inside one of the eggs attacks an explorer. The entire crew is unaware of the impending nightmare set to descend upon them when the alien parasite planted inside its unfortunate host is birthed. Released:
The characters and their personalities are weathered, believable, and their mission plausible. The profit-driven search for mineral ore provides a realistic corporate counterpoint to the main story, which sees the seven crew members dragged, somewhat unwillingly, into the extraterrestrial's world.
With the possible exception of Ash, they did not seek this encounter; the computers lead them to it.
How each crew member responds to the situation is key; in effect, seven sub plots form, each focusing upon something different, be it a crew member's mannerisms, their way of thinking, or indeed, a violent death Chestburster.
This is Alien's greatest appeal; it provides an insight into the human mind, as psychological horror movies should. Which crew member do we, the audience, root for, admire, or resent?
Who can trust who? Sigourney Weaver, so often credited with inspiring a roll-call of female cinematic heroines, rightly earns every syllable of praise that has been heaped upon her since the film's release; Ripley's resourcefulness and courage are marvellous to behold.
However, as the genuinely disturbing android Ash, Ian Holm is supreme; his reserved demeanour and considered approach masking the motives that lay hidden out of sight.
As an exercise in sound and vision, Alien is a memorable spectacle. There are many moments that are striking. The colossal hauler Nostromo, futuristic and industrial in design, dominates the screen as it crawls slowly, almost gracefully, towards Earth.
The sheen of the soundtrack and the echoing calls from the freighter to 'Antarctica Traffic Control' are atmospheric to the core, while the fogbound alien planet, littered with blackened mountains and the silhouette of the hulking, derelict vessel, is hauntingly desolate.
Spaces where, in modern horror films, the gaps would be filled with meaningless dialogue, are left vacant. The viewer can interpret what they see with no need for speech.
Ridley Scott's vision of 'horror first, science-fiction second' was, without a doubt, fulfilled; audiences should ignore the flashing lights and controls of the spaceship and focus upon the Alien.
Around which corner does it lurk? Who becomes its next victim? Alien is a film of immense quality.
It has the capacity to frighten and to deceive. It flows precisely from scene to scene with no wasted shots and most tellingly, does not stray off course by incorporating fanciful special effects or worthless roles filled by fringe characters.
One spacecraft, one extraterrestrial, seven humans, and one cat is all we are given. And quite simply, anything more would have been a waste.
While the genre of horror may have moved on, the art of horror is captured perfectly, here, in the blackness of space. Before gore, special effects, and the denouement of the alien itself in future sequels, this was the movie that revolutionized the concept of the "haunted house" and merged it in a seamless sieve with "body horror" and its ultimate intrusion into our own most intimate space.
The story had been done before, in different genres, never veering too far from its horror origins.
Lovecraft and others had written about expeditions that had gone to "investigate" and "collect important data" only to find themselves being hunted down one by one, be it an unseen terror or their own fears.
Ridley Scott's ALIEN looks and feels like a science fiction movie. However, it is not. Everything in its look and tone suggests horror of a more cerebral kind.
When three crew members come across what seems to be a large space-jockey with a thing attached to its face, dead, we feel our stomach turn.
If something that small was able to take over a creature this large, they are in deep trouble here. The scene is masterful, restrained, but a classic in the horror-movie sense: it's as if we had been witness to terrible events which had taken place and decided to get to the bottom of it.
Scott tightens the noose employing age-old tricks of the horror genre and only once shows blood and guts -- one which follows a calm dinner sequence.
He never allows the viewer to get a true glimpse of this sadistic killer much like Spielberg in JAWS and this becomes nerve-wracking because again, fear of the unseen is more powerful than what comes into view.
The theory dictates: "I was afraid of that thing? I thought it was bigger! Later on, as Ripley Sigourney Weaver in her breakthrough role , the quintessential Final Girl, makes her escape, it is possible to hear Lambert shrieking.
What the alien is doing to her we can only imagine and recoil. BrandtSponseller 6 February Seven members of a space mining cargo ship who are headed back to Earth are awakened from hypersleep when their ship detects a signal from an intelligent civilization on a small, uncharted planet.
When they locate the source of the signal, they find more than they bargained for, and all of their lives are endangered. My feelings about this first film in the Alien series have vacillated slightly over the years.
I loved it when I first saw it as a young teenager in the theater back in Later, I wasn't as enamored with it, and had actually rated it as low as a 7 out of at one point believing it to be my least favorite of the series.
Now, however, my appreciation of the film has matured a bit, and I'm back to thinking it's a solid 10 out of The film's strong points are rooted in director Ridley Scott's focused commitment to sustaining a desolate, dark atmosphere and gradually building suspense over the course of the film.
Alien is unusual for its era in its pacing, its lack of comic relief, and its refusal to provide breaks from its growing tension.
All three of these facts make it a somewhat "difficult film". It's not recommended for light viewing. It's not a "popcorn film". You have to be in the mood to sit down, slow down, concentrate, invest emotion, and let yourself be enveloped in the film's world.
With Alien, Scott has created a kind of bleak tribute to Stanley Kubrick's A Space Odyssey This is evident in many characteristics of the film, such as the graceful slowness of the cinematography, editing and much of the action in the first section of the film, including sustained pans across sterile-looking environments and wide external shots of a hulking but elegant spacecraft, the personification of the ship's computer, known as "Mother" here rather than Hal, a few subtle instances of classical music, the surprise discovery of a monumental structure on another celestial body, and so on.
However, there are no instances of pleasant psychedelia here, no retreats into dreamworlds, no messages of hope, no benevolence from alien beings.
Alien is strictly concerned with making its sci-fi an issue of classic horror. At a base level, it is about a malevolent monster, first encountered in a dark, Gothic environment and later chasing our heroes through a cross between a haunted house and crypt-like labyrinths.
Much has been said about visual artist H. Giger's alien and production design, and the film wouldn't be nearly as successful without it.
Giger is largely responsible for the look of the beacon ship on the small planet, both its exterior and interior, the cocoon later encountered on the cargo ship, and the creatures.
His work also inspired a lot of smaller elements, as can be seen in doorways, pipes, and other features of the cargo ship.
Like most of his work, these features are a combination of metallic and organic, mechanical and biological, futuristic and Gothic.
They complement the austere Kubrickian sensibility in a surprising but completely successful way. Scott also uses simple effects like steam, as well as unique lighting and sound effects to help build the film's thick tension.
These techniques gradually become more conspicuous as the film goes on, finally culminating in a claustrophobic symphony of flashing lights, constantly hissing pipes and hoses, and an incessant audio alarm.
Finally, the last key to the excellence of the film is the cast. Although a somewhat stereotypical movie-world ragtag bunch, their characterizations provide more depth than the norm, with Sigourney Weaver as the standout, in perhaps the defining role of her career, and one of the more admirable filmic portrayals of a woman--she's the smartest, most sensible, strongest, and certainly most sexy of the bunch.
This horrifying as well as heart-pounding movie contains shocks , stomach-churning violence , chills , profanity , thrills and results to be pretty entertaining.
The commercial vessel Nostromo with a crew in deep-space sleep wakes up and receives a distress call from an unexplored planet.
The futuristic cargo ship picks up an unwanted passenger : a malicious extraterrestrial. After searching for survivors, the ill-fated crew heads home only to realize that a deadly bioform has joined them.
The merciless alien lives on human flesh and continually changes form. Then the Earthlings have a hard time figuring out the whereabout of the heinous being that is running amok.
This nail-biting picture contains tension from start to finish , gory scenes aplenty , thrills , some strong scares , slime , emotion , entertainment and good acting.
It is a superb cinematic combination of Sci-Fi , monster movie and terror. This is a brutal , considerable violent and exciting sci-fi thriller that scales new heights of savagery even by the standards of the 70s and 80s.
The result is a throughly violent but undeniably thrilling action movie with a strong cast giving sweatily good value to their abrasive characters.
Spectacular as well as bloody slaughter sequences took long time to shoot and were extremely difficult to make. Magnificently designed creature by the artist HR Giger , it was conceptual artist Ron Cobb who came up with the idea that the Alien should bleed acid.
Extraordinary as well as astounding special effects in the chestburster scenes , the rumor that the cast, except for John Hurt, did not know what would happen during scenes is partly true and it was filmed in one take with four cameras; for instance, Veronica Cartwright did not expect to be sprayed with blood.
The ending part is particularly exciting with Sigourney Weaver battling the malicious alien. Sigourney Weaver breathes fire into Ripley and remaining actors are all magnificent as the crew of a futurist starship such as Tom Skerritt who is awesome in compelling lead role as commandant , Harry Dean Stanton , Veronica Cartwright , Yaphet Kotto , John Hurt and special mention to Ian Holm.
The motion picture was stunningly directed by Ridley Scott who keeps everything bouncing at an absolutely frantic pace.
Ridley Scott cites three films as the shaping influences on his movie: George Lucas' Star Wars and Stanley Kubrick's for their depiction of outer space, and Tobe Hooper's Texas chain saw massacre for its treatment of horror.
All of them starred by the great Sigourney Weaver who performed one of the best female leads created in years. I first saw this in a cinema in while I was at university.
As a huge sci-fi fan I assumed this would be some kind of low budget monster movie that would be mildly diverting. I'd never heard of Ridley Scott before I came out of the cinema stunned and wanted to see this again immediately.
To say it is one of the greatest sci- fi films of all time is under-rating it. It is one of the greatest films of all time. Performances that are pitch-perfect from a stellar cast.
The first dirty, grungie space vessel that I'd seen in a film - more gritty and real than anything that had ever been offered up before.
A freighter - not a fighter or a star-destroyer or something glamorous. Just a working freighter. And a villain that was relentless, a perfect killing machine.
Tougher than anything - with acid for blood! And in the end a heroine that was just as relentless. Legendary now, revolutionary then. If you haven't seen this, your film education is lacking.
Alien is one indisputably one of the best science fiction, and horror films ever made. And easily one of the most influential ever.
As it basically invented and defined the science- fiction horror genre, paving the way for films like the thing, and predator.
Den of Geek. Retrieved 26 June Titan Books Limited. Alien to The Matrix: reading science fiction film. An Introduction to Visual Culture.
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Loughlin, Gerard ed. Alien Sex: The Body and Desire in Cinema and Theology. Ridley Scott is now one of the most well known and successful directors in Hollywood, but I don't think anything he's made in the last ten years is a patch on this perfect film, which is a near masterpiece in my opinion.
In fact, on reflection there are only three Scott movies I genuinely like, those being his first three. The last of these 'Blade Runner' was released twenty years ago now, so to me Scott is long past his use by date.
Whatever, 'Alien' itself is a brilliant piece of work, and is almost flawless. Scott's direction is superb and everything else about it is outstanding - a strong script from Dan O'Bannon et al, an evocative score from Jerry Goldsmith, brilliant design and special effects, including the amazing contributions from H.
Giger, all add up to an amazing movie experience. I also really liked how the cast were character actors and not "stars" so there was plenty of suspense generated as to who will live and who will die.
This is something very few subsequent movies have done, 'Pitch Black' being one of the exceptions.
Sigourney Weaver may be an icon as Ripley now, but when the movie was first released she was virtually unknown, having had a small cameo in Woody Allen's 'Annie Hall' and not much else.
The rest of the cast are equally as good. I especially enjoyed Yaphet Kotto 'Blue Collar' and the legendary Harry Dean Stanton 'Wise Blood' as the wise cracking "below deck" crew.
Many people seem to prefer James Cameron's sequel 'Aliens' over this, but as I much prefer horror and suspense movies to action ones I think this is definitely the better movie, and still the strongest and most effective in the series.
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Further information on the creature: Alien creature in Alien franchise. The "facehugger" was the first creature Giger designed for the film, giving it human-like fingers and a long tail.
The "chestburster" was shoved up through the table and a false torso by a puppeteer. I resent films that are so shallow they rely entirely on their visual effects, and of course science-fiction films are notorious for this.
I've always felt that there's another way to do it: a lot of effort should be expended toward rendering the environment of the spaceship, or space travel, whatever the fantastic setting of your story should be—as convincingly as possible, but always in the background.
That way the story and the characters emerge and they become more real. I mean, people were screaming and running out of the theater.
Further information: List of accolades received by Alien. It suggests that the filmmaker has finally overcome the interference of heavy-handed studio executives, and that the film has been restored to its original, untampered form.
Such is not the case with Alien : The Director's Cut. It's a completely different beast. Some have argued the film's narrative details and visual design were inspired by those of the Italian film Planet of the Vampires top , such as a scene in which the crew discovers a ruin containing giant alien skeletons.
Unfortunately, the films it influenced studied its thrills but not its thinking. Further information: Alien franchise.
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That was another wonderful touch. It influenced me when I did Alien. I thought I better push it a bit further and make them truck drivers.
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One of the things I enjoyed most about "ALIEN" was its subtle satirical content. I wanted to imply that poor old England is back on its feet and has united with the Japanese, who have taken over the building of spaceships the same way they have now with cars and supertankers.
In coming up with a strange company name, I thought of British Leyland and Toyota , but we couldn't use "Leyland-Toyota" in the film.
Changing one letter gave me "Weylan", and "Yutani" was a Japanese neighbor of mine. Aliens DVD. Beverly Hills, California : 20th Century Fox.
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Archived from the original on August 2, June 13, URL consultato il 16 marzo SCANLON, M. Parker talks Alien with IGNFF's Steve Head. URL consultato il 21 aprile URL consultato il 7 novembre URL consultato il 7 novembre archiviato dall' url originale il 5 giugno Milano, Baldini Castoldi Dalai editore, ISBN p.
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Ridley Scott. Dan O'Bannon , Ronald Shusett. Dan O'Bannon. Gordon Carroll , David Giler , Walter Hill. Ronald Shusett.