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The original Alien, released 45 years ago, is one of the scariest films of all time. Definitely the scariest film in the franchise, and in my opinion, it outshines every other film in the franchise.
Let's start with an interesting fact: Alien is one of the only two films in the franchise, along with Alien 3, to use anamorphic lenses. While many people associate the anamorphic format with a cinematic look, it's actually challenging to create effective horror in this format due to its unique visual characteristics.
Here's the difference between Super 35 and Anamorphic 2.39:1. Both are shot on film; Super 35 has a wider frame size. Anamorphic only uses 2.95 mm horizontally, but a lot more of the vertical area. The aspect ratio is 6:5. The image is compressed horizontally but not vertically by two times. Typically, if you look at an anamorphic frame, the image appears squeezed. Later, the film is desqueezed to a final aspect ratio of 2.39:1. Both formats have the same aspect ratio, but the image characteristics are very different. Some people say the anamorphic format has more resolution than Super 35, though I'm not too sure about that.
Cinemascope, the commercial name for the anamorphic format, needs a front optical element on the projector lens to desqueeze the image. Adding an optical element always reduces the image quality, and anamorphic lenses are never as sharp as spherical lenses to begin with. My point is, sharpness is not why one would pick anamorphic; it's primarily to get the compressed telephoto view on wider lenses.
Of course, the anamorphic format is also known for oval bokeh, horizontal lens flare, greater distortions, and shallower depth of field at similar apertures. In Alien, they used Panavision C Series and the original Cook Veritol zoom lens. The Cook Veritol, released in 1971, was the first zoom lens designed for professional motion picture photography. It has a range of 20 to 100 mm at T3.1.
Maybe you know this guy: Stanley Kubrick used this very lens for his 36 zoom shots in Barry Lyndon. Ridley Scott loves his zoom lenses too. How did all this help Alien? The anamorphic format, with its telephoto-like effect, made the tight confines of the Nostromo spaceship feel even more claustrophobic. If you compare these shots to those in the newly announced Alien Romulus, you'll see the difference. The sense of claustrophobia in Alien is taken to extremes, from the tight confines of the Nostromo to the eerie exploration of the alien ship, and then back into even more constricting spaces. The anamorphic lenses intensify our subconscious dread of these environments, much like telephoto lenses would.
Ridley Scott, who has a preference for using telephoto lenses, uses this brilliantly. In many ways, Alien looks the way it does because it was shaped by two individuals who had never made a narrative film before: cinematographer Derek Vanlint, who brought a wealth of experience from his work in commercials, played a crucial role in defining the film's distinctive visual style. Sadly, his work is overlooked when people discuss Alien.
Vanlint often worked with a wide open aperture, typically around T2.3 to T2.8. This gave the shallowest depth of field and made the spaces appear larger in the background, which gives it the impression of being closer, thereby more claustrophobic. Viewers were constantly on edge, never knowing when or where the alien might appear.
The lighting in Alien is a masterclass in creating mood and atmosphere. Vanlint was known for his expertise in low-level lighting. The lighting design in Alien was revolutionary for its time, emphasizing a low-key approach from the practical lights on set, which were then augmented by additional lights that created deep shadows and stark contrasts. One can't forget the flickering lights of the Nostromo in the climax. This lighting choice gave the film an alarmingly realistic feel, as if the ship itself was barely holding together. The practical lights could suddenly fail, plunging the characters and the audience into complete darkness.
I don't know if you have played Doom 3, the game, but it's exactly the kind of atmosphere that was inspired by Alien. They achieved this with the use of what they call "cesar arcs," which are lights mounted on movable arms positioned at extreme angles to create long shadows across the set. Alien was shot on Kodak Eastman 100T 5247 film stock, chosen for its fine grain and sharp detail.
100T is ASA 100 but is about an ISO of 200 in a digital camera, as advised by Kodak. The 5247 stock was tungsten balanced, and daylight sources helped the film with some of its muted color palette. The set is dominated by cool tones and deep shadows that just make everything feel cold and chilly in deep space. Compare that to the warm tones in later Alien movies, and the effect just isn't the same.
Ridley Scott's camera work in Alien is fluid and precise. Scott and Vanlint frequently used slow, creeping camera movements with a Fisher Dolly to track through the corridors of the Nostromo, mirroring the tension felt by the characters. No steadicams were used, as far as I know. The slow pace of these shots allowed the tension to build naturally, so the audience was forced to wait for the inevitable appearance of the alien.
You can see how every element in the chain was designed to slowly ramp up the dread to an unbearable degree. In 1979, audiences didn't know what to expect in the chestburster scene, so the sudden appearance of jarring cuts along with the little "cutie" was just too much for moviegoers worldwide. After that point in the film, you can never trust a slow camera movement ever again. For this one, we must thank Terry Rawlings, the editor.
This control over pacing is what makes Alien such a masterclass in suspense, as the audience is never given a moment to relax or feel safe. When they finally went handheld, Ridley Scott operated the A camera himself. Today, the shots might look "paz," but back then, they added a sense of immediacy and realism to the action, making the audience feel as though they were right there with the characters. You get to experience their fear firsthand. It gave the film a documentary-like feel, making it seem more visceral.
They often cut between close-ups of their anxious faces and wide shots of the empty dark corridors, reinforcing their vulnerability and the omnipresent threat of the alien. The jump scare moments in Alien are one great reason why this movie outshines the others in the franchise. You know something dreadful is coming; the buildup is slow and intense. Aliens just don't pop out of nowhere with a loud bang. Let's also not forget the great sound design work that went along with these visuals.
Unfortunately, Ridley broke a lot of his own rules for Prometheus. It just doesn't feel like the same universe. All the small technical choices he made contribute to the lasting authenticity of the horror. I don't know about you, but Aliens, directed by James Cameron, looks a lot more data than Alien to me and a lot more polished. Aside from a few rare moments, no other film in the Alien franchise has matched the original's sheer entertainment value.
Alien still outshines every other film in the franchise because of its groundbreaking approach to visual storytelling. The film's use of anamorphic lenses, low-key lighting, combined with expert editing and precise camera work, created a cinematic experience that is deeply terrifying. It's a masterpiece, possibly one of the greatest horror movies ever made, and has influenced countless movies, both in science fiction and horror.
I think there's a film released every year that borrows something from Alien. It's just a fountain that keeps on giving. Don't forget to check out my video on how Ridley Scott directs actors, specifically in Alien. Yeah, a simple dinner scene takes on a whole new meaning. My next video might not scare you as much, except by its sheer brilliance. Yeah, right now will be a good time to bathe in its glory. Click to bathe.