So before we begin, I'd like to make one small announcement.
This is actually the first video on my channel that has original music composed for it.
My friend Jameson Nathan Jones, who is a very talented musician and composer, put together
all the original tracks you're gonna hear today.
So if you like what you hear, please go support his work.
You can buy his latest album, which is called What Dreams May Come, at jamesonnathanjones.bandcamp.com.
You can also follow him on his website, on Soundcloud, and on various other social media
presences, and I'll put all those links in the description below.
And without further ado, I hope you enjoy the video.
[Dillon] We give you thanks, oh Lord.
Your wrath is come, and the time is near for us to be judged.
The apocalypse is upon us!
Let us be ready.
Let your mercy be just!
[Rafa] Alien 3 is quite possibly the single greatest missed opportunity in the history
of cinema.
It had the potential to be one of the most extraordinary science fiction films ever made,
but what we got instead was a case study of how not to put a film into production.
[Fincher] It's amazing to me that Fox is the number one studio in the country because
they're all such a bunch of morons.
[Rafa] It was only by the grace of David Fincher that what should have been a complete disaster
turned into a film that is surprisingly good: a work of popular fiction so aggressively
subversive in its treatment of sexuality and religion that it's utterly shocking Hollywood
had anything to do with it.
[Dillon] Amen.
[All] Amen!
[Rafa] My name's Rafa, and I have a lot of opinions on this franchise.
One of them is that I think the biggest reason why so many people dislike this film is because
it isn't Aliens.
As a pure entertainment film, Aliens tries its best to please you.
[Ripley] Get away from her you bitch!
[Rafa] But Alien 3 goes so hard in the other direction that it's hardly surprising people
are so turned off by it.
And yet, despite being as drastically different from its predecessor as it was from its predecessor,
Alien 3, like Aliens before it, offers a natural progression of the core themes of the franchise.
Now I know some of you are hearing this and thinking, how in the hell does a sequel that
wipes out all of the characters introduced in the previous film in its opening credits
constitute a "natural progression?"
Well, the answer lies precisely in those opening credits.
But first, a quick recap.
Aliens took the motherhood symbolism of the first film and transformed it from subtext
to text.
The largely visual suggestions of defiled or perverted mothers were replaced by a plot
that was explicitly about pitting a mother and her surrogate child against a monstrous
mother and her murderous children.
The ending of that film presents us with a family that's been newly formed from the
ashes of catastrophe.
[Newt] Mommy!
[Ripley] Oh God!
[Rafa] Restoring a familiar social order, and with it, hope.
The dragon has been slain, her offspring annihilated, and all is right in the jungle.
And yet, somehow…
[Ripley] What is it?
[Eighty Five] I think you've got one inside of you.
[Rafa] In order for this to make any sense, we have to believe that the Alien queen, after
losing her babymaker, had the presence of mind to grab a pair of unhatched eggs and
carry them with her while chasing Ripley all the way back to the Sulaco.
Then, in the middle of her final showdown, on a sudden whim, she chucks the eggs down
a corridor with enough force that they somehow ricochet all the way to the sleeping pods,
where they just happen to fall into tucked away corners where no one can notice them.
[Andrews] Quite a story, Mr. Aaron.
[Eighty Five] Right, sir.
It's a beauty.
Never heard anything quite like it, sir.
[Andrews] I expect not.
[Rafa] It's easy to dismiss this nonsense as a result of a complete absence of logic
from the filmmakers.
And certainly, given Alien 3's now legendary production problems, it's very likely.
[Jon Landau] As a studio we set out to make a release date, and not make a movie.
[Rafa] But if we can be charitable for the next few minutes, I think it's worth noting
that the whole point of this credit sequence is to impregnate Ripley with an alien—to
once again drastically change the definition of Ripley as a mother figure.
From a woman embracing maternal instincts as an act of defiance, then to a literal mother
seeking redemption for her daughter's loss, and now as an unwilling mother to the daughter
of rape.
Here, the generic scene of a mother happily seeing her unborn child's ultrasound for
the first time is recast as horrific.
While Kane's violent rape, unwanted pregnancy, and death in childbirth were an attempt to
impose feminine fears on men…
[O'Bannon] One thing that people are all disturbed about is sex.
Everybody is always all in a knot about sex.
I said, that's how I'm gonna attack the audience, I'm gonna attack them sexually.
And I'm not gonna go after the women in the audience, I'm gonna attack the men,
and I'm gonna put in every image I can think of that I know will make the men in the audience cross
their legs.
Homosexual oral rape.
Birth.
The thing lays its eggs down your throat.
The whole number.
[Rafa] …subjecting Ripley to a similar circumstance restores those fears as a uniquely feminine
reality while also reinstating rape's thematic centrality, after being significantly downplayed
in Aliens.
[Hicks] Looks like love at first sight to me.
[Rafa] But surely there were other ways of getting here, so why did it come at the cost
of narrative sense and three beloved characters?
I think the answer is, quite simply, this movie aims to misbehave.
The late 80s early 90s were the era of grunge, alt-rock, bad girls, and gangsta rap.
[Anchor #1] Some radio stations are now refusing to play violent rap songs.
[Anchor #2] Madonna is at the center of a controversy judged so newsworthy, that she manages
to supplant the Persian Gulf crisis on TV.
[Anchor #3] A year after a filmed murder scene landed in a cornfield hundreds of miles from
Chicago, police and FBI narrowed the case down to the victim's identity.
[Anchor #4] They found out that Trent Reznor had masterminded and directed his own death.
[Rafa] The success of acts like Nine Inch Nails, N.W.A., and Madonna (who incidentally
collaborated with David Fincher) signaled a cultural shift where impropriety, sacrilege,
and rebellion were suddenly the coolest things on the planet.
At the beginning of his cinematic career, Fincher had a famously undisguised contempt
for American fantasies and sentimentality.
[Somerset] How are you liking it?
[Mills] You know.
Takes time, settle in.
Be good.
[Somerset] Well you'll be gettin on after a while.
There are things to any city that —
[Mills] Subway.
[Tracy] It'll go away in a minute.
[Rafa] His body of work during the 90s explores subversions of classic narrative expectations
and demonstrates a fascination with characters suffering from a catastrophic loss of control over
their lives.
The worlds in which they search for stability and safety are brimming with the grotesque
and baroque, each film a glimpse into the mirror Fincher holds up to society –– a
mirror sometimes tinged with satire, but always dripping with cynicism.
[Durden] God dammit, an entire generation pumping gas, waiting tables.
Slaves with white collars.
Advertising has us chasing cars and clothes, working jobs we hate so we can buy shit we
don't need.
[Rafa] A product of its insolent time, its caustic director, and the tempest of a Hollywood
machine flying off the rails, Alien 3 became a twisted, brooding work of blasphemy.
[Dillon] For within each seed, there is a promise of a flower.
And within each death, no matter how small, there's always a new life.
A new beginning.
Amen!
[All] Amen!
[Rafa] Ripley's bald head, which was one of the earliest creative contributions Fincher
made to the project, surely invites immediate associations with chart-topper and firebrand
Sinéad O'Connor.
[O'Connor] I wanted to see if any artists would say anything, when they had the platform,
about the war about how tragic it was, and nobody said a word, other than, you know,
"peace in the Middle East," but I don't know what that means when you're dressed
in a suit that'd made out of the American flag.
[Rafa] But it also references Carl Theodor Dreyer's silent masterpiece The Passion
of Joan of Arc –– two infamously rebellious women who defied the establishment, particularly
Christian institutions.
Then, too, the vaguely religious imagery from the first film –– from the gothic architecture
of the Nostromo's rig to Ripley's somewhat saintly repose in the sleeping pod –– now
reaches a more literal and purposeful expression.
There's the obvious, like the homogenous, monk-like appearance of all the inmates and
their homemade cross.
But then there are the subtler elements, like the film's score.
What you're listening to is a verse from the Agnus Dei: "Lamb of God, who takes away
the sins of the world, grant us peace."
There's also the film's visual obsession with verticality.
The Victorian staircases, the gothic assembly hall and the vertical staging of the characters,
the heavy use of low angles –– all reflective of a community which gazes toward the heavens
for salvation.
But the only thing that seems to descend from on high is death –– including Ripley,
who falls from the skies in a ball of fire to rain complete destruction upon a devoutly
religious world.
In light of all this, her impossible pregnancy can be seen as a perverse miracle, a virgin
birth which will bring forth a demon, rather than a savior.
Ripley has become the ultimate corrupted mother.
[Ripley] It's a queen.
An egg layer.
It can make thousands more like the one we've got here.
[Rafa] But while Ripley carries the antichrist figure within her, she is also paradoxically
a messianic figure as well.
She is both the cause of the prisoners' destruction and their only salvation.
The clear-cut divisions between heroes and villains and the equally unambiguous redemptive
arcs that characterize Aliens have been replaced with a dense quagmire of contradictions, paradoxes,
and subversions.
Ripley's bald head references a saint, but it also aligns her with the prisoners.
Fury 161 is both a monastery and a prison, its inhabitants both devout and depraved.
What to them is a cathedral of their own making is to Ripley a feminist hell, surrounded by
ultra male double Y chromos who view her femininity as the ultimate threat to their social order.
[Dillon] We view the presence of any outsider, especially a woman, as a violation of the
harmony and potential break of the spiritual unity.
[Rafa] And, predictably…
Interestingly, where the first film appears to link sexual violence with sexual desire
— in other words, that rape is rooted in lust, a suggestion made here with the juxtaposition
of assault and pornography — this film seems to link sexual violence with power.
This attack is more of a display of dominance than lechery.
Now, some might say that presenting rape in such a literal fashion, as opposed to the
more symbolic rape perpetrated by the Alien, is a move lacking in subtlety.
But the thing you have to remember is that this film is a direct response to Aliens.
[Morse] No climate control, no video system, no surveillance.
No freezers, no fucking ice cream.
No rubbers, no women, no guns.
All we got here is shit!
[Rafa] And that includes Cameron's completely sexless approach to Ripley.
The attempted rape is part of the film's effort to remind us that she is a sexual being;
that she can be sexually vulnerable, but also sexually empowered.
And the fact that she sleeps with Clemens just to shut him up stands in stark contrast
to Cameron's vision of a chaste mother.
In fact, she is so impure that she emerges from the wreckage of Cameron's fantasy covered
in filth.
And it isn't just Ripley.
The entire film is populated exclusively with characters who've been discarded, abandoned,
or otherwise left to rot.
The film goes so far as to literally throw Bishop in the trash.
If Aliens was a validation of the American value system, then Alien 3's world of outcasts
is a condemnation of it: a concentration of individuals who stand as evidence of the system's
failures.
The company reclaims its original role as an amoral, sinister threat, but more significantly,
it's the selfless sacrifice of the very people society has discarded that saves humanity
from the Apocalypse.
If Ripley is the messiah, crucifying herself for our sins and rather perversely saving
us via suicide and abortion, then the prisoners are her Apostles, a group of followers recruited
from sinners and pariahs — and 85 is her Judas, betraying her to the Company before
killing himself in repentance.
And yet despite these clear allusions, the film isn't about finding faith, but the
exact opposite.
[Prisoner] In the year seven five ten, if God's a-coming, he oughta make it by then!
[Rafa] The future Ripley promised Newt never materializes.
The God these inmates worship never intervenes on their behalf.
The Company never justifies Eighty Five's naive faith in it.
Morse's trust in Golic is repaid with betrayal.
Even the audience's faith in narrative convention is thwarted time and time and again.
For example Clemens, who in any other film would go on to be the leading man opposite
Ripley, is killed right at the moment in which they make their most intimate connection.
As the intended final chapter of a trilogy, it seems strange that Alien 3 should be so
nihilistic and bitter.
In a classic trilogy, the third chapter is the one that reaffirms the
convictions of the first.
The first makes certain claims about how good can triumph over evil.
The second casts doubt over good's ability to triumph.
And the third dispels those doubts and fully realizes the vision of the world that was
hinted at in the first chapter.
[Oracle] Everything's okay now.
[Sati] Look, look!
[Oracle] Just look at that!
Beautiful!
[Rafa] But the original Alien trilogy doesn't begin from a place of hope.
Everything the first film has to say about our world is dark and unsettling.
The second film's cathartic triumph then casts doubt over the complex, brooding fatalism
of the first, so the third film must return to the darkness of the first –– and Alien
3 does so in spades.
Fittingly, for a film series about maternity and sexuality, this trilogy begins at birth,
embraces life, and ends at death.
Morse, the lone survivor, utters the final line of dialogue of the film.
[Soldier] Go on, you! Get going!
[Morse] Oh, fuck you!
[Rafa] Where he once directed his rage at Ripley, the dangerous temptress, now, having
taken her side, he says fuck you to the Company and, metaphorically, to the oppressive system
it represents.
Which, depending on how you look at it, could be read as capitalism, the military industrial
complex, the patriarchy, or all of the above.
But it seems he might also be Fincher's mouthpiece, talking to us: fuck you, the audience.
We'll kill Hicks and Newt in the first minute.
And you know what, Ripley dies too, fuck you.
Fuck you for ever thinking we could build a better world.
Oh man, I can breathe a huge sigh of relief now.
That video took me ages to make, both to write and then to rewrite and then to rewrite again
and then to edit and then go back to rewriting and re-recording, it was a mess.
But, yes, yes, Twin Peaks videos are on the way, and of course please like, share, and subscribe
if you haven't already done so.
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