Posted by Kimberly Lindbergs on January 23, 2014
ALIEN airs on TCM January 25th as part of their ‘70s Thrills programming
For decades screaming was often the weapon of choice for women in action, science fiction and horror films. We were expected to shriek, shout, yelp, whimper, squeal and squawk in the face of serious danger and (hopefully) a man would eventually come to our aide. So you can imagine how frightened little 11-year-old me was when I first heard the tagline for ALIEN back in 1979. Weeks before I actually saw the film I spent many sleepless nights rolling around in bed and contemplating the terrifying idea that no one could hear me scream if I was in space. If no one could hear me scream how could I be saved from whatever terrible danger awaited me?
Like many kids I was fascinated by the idea of space travel but as a female of the species I didn’t have many role models to look up to. It would be another 4 years before Sally Ride became the first American woman to experience space flight as a member of the Challenger shuttle crew in 1983 but 30 years have passed since then and we still haven’t put a woman on the moon or any other planet for that matter. I mention all this because to describe the heroine of ALIEN as “groundbreaking” seems too simplistic and almost crude. Warrant officer Ellen Ripley (Sigourney Weaver) wasn’t just groundbreaking. She was a 10.0 earthquake that reverberated across movie screens and sent unmeasurable shock waves through our collective conscious.Her impact is still being scrutinized today by countless films scholars, critics and historians but there’s no denying that plenty of little girls like yours truly are deeply indebted to Ripley for broadening our idea of what a conventional movie hero could be. She seemed to embody the idea that actions speak a hell of a lot louder than words and screams.
It’s worth noting that the memorable tagline for ALIEN was written by a woman. Copywriter Barbara Gips came up with the idea while her husband, graphic artist Philip Gips, was creating the original movie poster and he used it in his design. The studio was so impressed with her idea that they decided to run with it in their advertising campaign. At the time there was still an air of mystery surrounding a film’s release and unless you spent hours scouring magazine racks for production information you usually went into a film blind with only the trailer, radio ads and movie posters as your guide. Barbara Gips’ bleak warning ignited our imaginations and spoke to our shared nightmares. The film’s tagline has become a mantra of sorts among horror film buffs and science fiction fans but it’s also a reminder of how women were often portrayed as “screaming Mimi’s” in action focused films before ALIEN challenged that perception. In space nobody could hear Ripley scream–and she does let out two good shrieks during the film–but her survival is dependent on her deeds and her ability to think clearly when the rest of her crew is panicking… and screaming!
Many have criticized and questioned the character of Ripley claiming she acts “too masculine” and is just a “man with boobs.” Carol J. Clover (the author of the often cited Men, Women, and Chain Saws: Gender in Modern Horror Films) said that Ripley was a “particularly grotesque example of wishful thinking” but I find these observations incredibly shortsighted. While it’s true that the character of Ripley was originally written with a male actor in mind, I’ve never questioned the character’s femininity. Ripley defied Hollywood templates that attempted to define womanhood with simplistic labels such as wife, mother, virgin and whore. But she was also a naturally nurturing individual who cared deeply about her crew as well as a cat and she risks everything to save them. Ripley’s tender relationship with the yellow tabby Jonesy tells us all we need to know about her parental instincts and innate empathy without having to point them out in LARGE BOLD LETTERS, which was done in the sequels that followed.
Top: The crew of the Nostradomas awakes
In complete opposition to the “Ripley’s too masculine” complaints hurled at the film, there’s also the problem of her underwear. Some think the final moments of ALIEN are problematic thanks to Ripley’s “tighty whities” and the way they eroticize the character but as an 11-year-old girl watching ALIEN for the first time I never once questioned Ripley’s wardrobe choices. The film opens with a shot of the entire crew in their underwear that instantly had me recalling scenes from various Frankenstein films I’d seen and their nudity implied a kind of birth or awakening to me. When Ripley strips down to her skivvies again it’s part of a cycle of events that suggest she’s grown, died, been reborn and is returning to the womb of the ship. Of course there’s no denying the sexual themes of the film, which was based on H. R. Giger’s highly sexualized work, but when Ripley’s nearly naked she suddenly appears vulnerable and that makes her last confrontation with the monster all the more terrifying. Her genderless uniform may have tricked us into forgetting we were watching a female hero in action but the film demands that we embrace her femininity in its final moments.
Top: Ripley in ALIEN
35 years have passed since Ripley saved the world from an alien threat but Hollywood still seems incapable of accepting the idea of a female hero who faces danger head-on without wailing about her predicament or relying on a man to guide her to safety. While watching the new Oscar nominated film GRAVITY recently I found myself wishing Dr. Ryan Stone (Sandra Bullock) would just shut-up and get on with the business of surviving. Her continual shrieking, shouting, yelping, whimpering, squealing and squawking was a threat to her crew members as well as herself. I want more action orientated women protagonists in my movies but I want them to reference the trail blazing independent characters that came beforehand and pointed to a better, smarter and more all-embracing idea of what it means to be a hero that defies easy definition and refuses to scream when the s–t hits the fan.
Not that there’s anything wrong with a good scream. Sometimes it’s simply a reflex or the only sane response to a terrible situation but screaming also unnecessarily wastes energy and time when you’re seriously under threat. It’s also a reaction that’s essentially associated with females. When a man is caught screaming his head off or needlessly whimpering our knee-jerk reaction is to call him a “sissy” and point out how woman-like his actions are in even more derogatory terms. And although plenty of men have effectively wailed in fear on film, it’s still an area where women reign supreme and Ripley’s calm, self-assured manner in the face of extreme adversity is an exception and not the rule. So what’s my point in writing this long-winded post? I really just wanted to let you all know that you can catch Ridley Scott’s ALIEN on TCM when it airs on Jan. 25th as part of their terrific ‘70s Thrills programming. I also wanted to remind Hollywood of Barbara Gips’s warning: In space no one can hear you scream. So please give me more Ellen Ripley’s and less Ryan Stone’s.
MovieMorlocks.com is the official blog for TCM. No topic is too obscure or niche to be excluded from our film discussions. And we welcome your comments on our blogs and bloggers.
See more: facebook.com/tcmtv
See more: twitter.com/tcm
3-D Academy Awards Action Films Actors Actors' Endorsements Actresses animal stars Animation Anime Anthology Films Art Direction Art in Movies Asians in Hollywood Australian CInema Autobiography Avant-Garde Aviation Awards B-movies Beer in Film Behind the Scenes Best of the Year lists Biography Biopics Black Film Blu-Ray Books on Film Boxing films British Cinema Canadian Cinema Character Actors Chicago Film History Children Cinematography Classic Films College Life on Film Comedy Comic Book Movies Crime Czech Film Dance on Film Digital Cinema Directors Disaster Films Documentary Drama DVD Early Talkies Editing Educational Films European Influence on American Cinema Experimental Exploitation Fairy Tales on Film Faith or Christian-based Films Family Films Fantasy Movies Film Composers Film Criticism Film Festival 2015 film festivals Film History in Florida Film Noir Film Scholars Film titles Filmmaking Techniques Films About Gambling Films of the 1930s Films of the 1960s Films of the 1970s Films of the 1980s Food in Film Foreign Film French Film Gangster films Genre Genre spoofs HD & Blu-Ray Holiday Movies Hollywood history Hollywood lifestyles Horror Horror Film Hosts Horror Movies Icons independent film Italian Film Japanese Film Korean Film Literary Adaptations Martial Arts Melodramas Memorabilia Method Acting Mexican Cinema Moguls Monster Movies Movie Books Movie Costumes movie flops Movie locations Movie lovers Movie Magazines Movie Reviewers Movie settings Movie Stars Movie titles Movies about movies Music in Film Musicals New Releases Outdoor Cinema Paranoid Thrillers Parenting on film Pirate movies Polish film industry political thrillers Politics in Film Pornography Pre-Code Producers Race in American Film Remakes Revenge Road Movies Romance Romantic Comedies Russian Film Industry Satire Scandals Science Fiction Screenwriters Semi-documentaries Sequels Serials Set design/production design Short Films Silent Film silent films Social Problem Film Spaghetti Westerns Sports Sports on Film Stereotypes Steven Spielberg Straight-to-DVD Studio Politics Stunts and stuntmen Suspense thriller Swashbucklers TCM Classic Film Festival TCM Underground Telephones Television The British in Hollywood The Germans in Hollywood The Hungarians in Hollywood The Irish in Hollywood Theaters Thriller Trains in movies U.S.S. Indianapolis Underground Cinema VOD War film Westerns Women in the Film Industry Women's Weepies