英文影评：《异形1（DTS导演剪辑版）》（Alien The Director‘s Cut）
发布时间：2024-07-27 14:24:06
Ridley Scott‘s seminal horror sci-fi film is digitally remastered and re-edited to freak audiences out again
Widely regarded as a masterpiece of contemporary science fiction, Ridley Scott‘s Alien overcomes its haunted-house-in-space origins to deliver a virtuoso convergence of acting, production design and jump-through-the-ceiling terror. Despite being imitated, spoofed and shamelessly plagiarized since its release in 1979, Alien has retained its power to shock thanks to HR Giger‘s now infamous monster, the script‘s audacious Freudian riffs on sex, motherhood and birth and the central performance of Sigourney Weaver.
Reissued 24 years after the original release, this remastered edition of Alien digitally spruces up the original negative and adds a brand-new six track stereo mix. It also restores five minutes of deleted footage, while cutting almost the same amount of cursory footage from the old print. Confusingly, this makes the director‘s cut almost a minute shorter than the original film. Which raises the question: is this a cut too far? Certainly it is not as radical as James Cameron‘s extended, and arguably more resonant, director‘s cut of Aliens. Rather than the 17 minutes Cameron restored to the sequel, Scott gives us just a handful of new scenes, including the crew puzzling over a transmission from the stricken alien vessel, Ripley (Weaver) bickering with Dallas (Skerritt) about opening the airlock and some additional moments in the medical bay. It‘s fair to say that most of these sequences are fairly innocuous and unlikely to excite anyone other than hardcore cinephiles (who will doubtless already have seen them on the Collector‘s Edition Laser Disc or 20th Anniversary DVD release).
The main point of interest is the restored scene in which Ripley discovers the cocooned bodies of Dallas and Brett (Stanton), who appear to be turning into alien eggs. Suggesting a very different take on the species‘ life-cycle and mythology than that to be found in Cameron‘s film, this sequence hints that the original alien was capable of asexual reproduction. Had this been further developed, Weaver would have been denied her legendary climactic battle with the queen "bitch" of Aliens. All of which trivial detail makes this no less, though also no more, of a masterpiece than it already was.
Reissued 24 years after the original release, this remastered edition of Alien digitally spruces up the original negative and adds a brand-new six track stereo mix. It also restores five minutes of deleted footage, while cutting almost the same amount of cursory footage from the old print. Confusingly, this makes the director‘s cut almost a minute shorter than the original film. Which raises the question: is this a cut too far? Certainly it is not as radical as James Cameron‘s extended, and arguably more resonant, director‘s cut of Aliens. Rather than the 17 minutes Cameron restored to the sequel, Scott gives us just a handful of new scenes, including the crew puzzling over a transmission from the stricken alien vessel, Ripley (Weaver) bickering with Dallas (Skerritt) about opening the airlock and some additional moments in the medical bay. It‘s fair to say that most of these sequences are fairly innocuous and unlikely to excite anyone other than hardcore cinephiles (who will doubtless already have seen them on the Collector‘s Edition Laser Disc or 20th Anniversary DVD release).
The main point of interest is the restored scene in which Ripley discovers the cocooned bodies of Dallas and Brett (Stanton), who appear to be turning into alien eggs. Suggesting a very different take on the species‘ life-cycle and mythology than that to be found in Cameron‘s film, this sequence hints that the original alien was capable of asexual reproduction. Had this been further developed, Weaver would have been denied her legendary climactic battle with the queen "bitch" of Aliens. All of which trivial detail makes this no less, though also no more, of a masterpiece than it already was.