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Sigourney will become the hero by stepping up to the challenge this mistake represents — and by growing. She’ll go from someone who won’t let John Hurt (and a pal) onboard without quarantine, to one who risks her life to save a cat.
    It may take place in the future, but what we find in
Alien
is a story that’s been re-told for centuries — one with an enclosed space, a beast that won’t quit, and a group that realizes too late that life is short.
    MITH Type: Pure Monster
    MITH Cousins:
Jaws, Tremors, The Thing, Jurassic Park, Anaconda, Deep Blue Sea, Godzilla, Independence Day, Men in Black, Lake Placid
    ALIEN
    Screenplay by
Dan O’Bannon
Story by
Dan O’Bannon & Ronald Shusett
    Opening Image: A space cruiser rumbles through the void. Egglike sleep chambers open and the crew stirs from a state of suspended animation. A computer named “Mother” has given birth to these early risers. There are seven members of the team; there will be a lot fewer by the end of the picture.
    Theme Stated: The crew gathers around the breakfast table and amid the banter of camaraderie, Parker (Yaphet Kotto) turns to Kane (John Hurt) and says: “Anybody ever tell you that you look dead?” What is it to be alive — and human? That’s our theme.
    Set-Up: The world of The
Nostromo
is stratified; each person onboard represents a different class of this society. It is overseen by “Science Officer” Ash (Ian Holm) and a bearded Dallas (Tom Skerritt) as the sensitive ’70s leader (aka alien food). And on the periphery, observing, is Ripley (Sigourney Weaver). She stands apart from the others, and is kind of a loner. By Minute 10 we’ve met everyone in the A story — and know exactly who they are! We also learn something is up with Tom. He goes to a little computer room only he as “the leader” can access. We don’t see what it is, but Tom and “Mother” have a secret.
    Catalyst: Tom tells the crew they’re not “home” yet; they’ve been called to a strange planet by a distress signal. The underclass complains. But when they’re informed that they’ll lose their “shares” if they don’t go on the rescue, they comply.
    Debate: What is this thing the crew has been called to deal with? Sigourney begins to emerge as the “smart one.” She investigates the signal and can’t determine if it’s an SOS or a warning to stayaway. And yet, the less cautious members of the crew (i.e., the guy with the beard) press on and decide to land on the forbidden planet anyway.
    Break into Two: When the crew disembarks to venture onto the weird world, we have broached the monster’s lair. And when John Hurt sticks his face over a hatching alien egg in a cave on this alien planet, a strange beast gloms onto his space helmet. From here on all bets are off, and we are forced to make a new rule: Never stick your face over an alien egg in a cave on an alien planet. Agreed? By the time John is allowed back onboard — after an argument between Sigourney and Ian — we’ve entered Act Two.
    B Story: The B story is usually the love story and is, kind of, in this film too. It is between Sigourney and Ian Holm. Their fight sets this “love story” into motion. And though they won’t actually kiss, Ian will make an odd attempt to have “sex” with Sigourney. It is with this “Half Man” she will discuss the theme of being human — and grow as one.
    Fun and Games: A classic example of “Fun and Games” is seen in the crew’s interactions with the alien intruder. If the “Thesis” world of Act One is normal, the “Anti-thesis” world of Act Two is the “funhouse-mirror” version — all due to the title character: a strange-looking crab that plays “hide and seek” in the lab and bleeds acid that eats through the ship’s hull. But when this monster drops off John’s face and dies, John appears to be fine.
    Midpoint: The “stakes are raised” at Minute 56 when, as the crew eats dinner, the creature explodes out of John’s