Un vaisseau spatial reçoit une transmission inconnue comme un signal de détresse. Lors de l'atterrissage, l'un des membres de l'équipage est attaqué par une mystérieuse forme de vie et ils r... Tout lireUn vaisseau spatial reçoit une transmission inconnue comme un signal de détresse. Lors de l'atterrissage, l'un des membres de l'équipage est attaqué par une mystérieuse forme de vie et ils réalisent que son cycle de vie vient de commencer.Un vaisseau spatial reçoit une transmission inconnue comme un signal de détresse. Lors de l'atterrissage, l'un des membres de l'équipage est attaqué par une mystérieuse forme de vie et ils réalisent que son cycle de vie vient de commencer.
- Réalisation
- Scénaristes
- Vedettes
- A remporté 1 oscar
- 19 victoires et 22 nominations au total
Sommaire
Avis en vedette
Probably my favorite movie ever.
It feels a bit like Blade Runner, with its borderline avant-garde use of quiet moments. However, unlike Blade Runner (which is just as strong a film) this movie uses its nebulous setting and ominous set design, music, lighting, and sound design to instill a deep, troubling fear in the audience.
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Holds up as a classic.
Fantastically atmospheric, chilling and terrifying even now, the story holds up incredibly well. The special effects were incredible for the time, no wonder the franchise is still in demand, though sadly nowhere near the quality of this one or its amazing successor.
The music is fantastic, the direction is incredible, and as for the Alien itself, way ahead of its time. Weaver is phenomenal, but arguably she's upstaged by the creature.
You can't help but remember scenes days after watching it, it definitely has the chill factor.
A cinematic masterpiece. 10/10
Classic horror
It's hard to look at this film without considering the sequels and knowing the alien itself, however when made the alien was mostly unseen and a mystery. It's difficult to forget what you've seen, but it's important to approach this film first if possible rather than joining the series late.
It's amazing that this is over 20 years old - apart from the actors looking so young, the film doesn't feel dated at all. The sci-fi visions here are still bleak and futuristic as they were then - this is not the Star Trek vision of the future. The foreboding exists long before John Hurt spills his secret, Scott's direction is excellent throughout. Once the alien is "born" the tension is cranked up and the characters dispatched one by one (a formula we know oh-so well now!)
However here the characters are not merely alien-food but have some dimension to them. Weaver is excellent, while the support cast is full of great support actors (Stanton, Kotto, Hurt, Skerritt, Holm), but of course the real star is the one we see least of.
We barely see the alien in full detail, most of the time it is set in shadows, moving with deadly intent.The alien here is not simply a killing machine as seen in later films but is cruel with it. Witness the alien trap a female crew member and slowly rub up her leg, moving with slow seductive movements before moving with terrifying speed to kill another crew member sneaking up behind it. The slow movements betray the alien's pure cruelty.
The film is a study in terror. It may not be as action packed as the other films in the series but it brings the claustrophobia of being hunted to a new level.
In space no one can hear you scream
Seems to get better and better as time goes on, maybe because as I mature, I appreciate the fine acting details or is it that there are fewer and fewer films to compare Alien to. Alien is a masterpiece in so many areas (in no order); Editing, photography, acting, direction, art, music, sound, script. In fact Alien ought to be mandatory viewing for every film director whether budding or currently or even as a refresher for well seasoned film makers.
It's so clear Ridley was able to make the film he wanted to make without interference from non creative parties.
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Le saviez-vous
- AnecdotesAccording to Yaphet Kotto, Sir Ridley Scott told him to annoy Sigourney Weaver off-camera, so that there would be genuine tension between their characters. Kotto regretted this, because he really liked Weaver.
- Gaffes(at around 1h 35 mins) A crewman with a black panel of some kind is visible through the smoke as Ripley runs through the corridors at the end of the film.
- Citations
Ripley: Ash, can you hear me?
[slams her hands down on the table]
Ripley: Ash?
Ash: [awakens and starts speaking in an electronic and distorted voice] Yes, I can hear you.
Ripley: What was your special order?
Ash: You read it. I thought it was clear.
Ripley: What was it?
Ash: Bring back life form. Priority One. All other priorities rescinded.
Parker: The damn company. What about our lives, you son of a bitch?
Ash: I repeat, all other priorities are rescinded.
Ripley: How do we kill it, Ash? There's gotta be a way of killing it. How? How do we do it?
Ash: You can't.
Parker: That's bullshit.
Ash: You still don't understand what you're dealing with, do you? The perfect organism. Its structural perfection is matched only by its hostility.
Lambert: You admire it.
Ash: I admire its purity. A survivor... unclouded by conscience, remorse, or delusions of morality.
Parker: Look, I am... I've heard enough of this, and I'm asking you to pull the plug.
[Ripley goes to disconnect Ash, who interrupts]
Ash: Last word.
Ripley: What?
Ash: I can't lie to you about your chances, but... you have my sympathies.
- Générique farfeluThe title of the movie is slowly created one line at a time at the top of the screen during the opening credits, starting out with the I, then the slash in A and the backslash in N, and then the vertical lines in L and E (so it looks like / I I I \). After that, the ensuing lines of each letter are added slowly one at a time until the title is fully visible.
- Autres versionsThe 2003 DVD release plasters the 1979 version of the 20th Century Fox logo with the 1980's version.
- ConnexionsEdited into Star Trek: The Next Generation: Datalore (1988)
Meilleurs choix
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Détails
- Date de sortie
- Pays d’origine
- Site officiel
- Langue
- Aussi connu sous le nom de
- L'étranger: le huitième passager
- Lieux de tournage
- sociétés de production
- Consultez plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 11 000 000 $ US (estimation)
- Brut – États-Unis et Canada
- 84 206 106 $ US
- Fin de semaine d'ouverture – États-Unis et Canada
- 3 527 881 $ US
- 28 mai 1979
- Brut – à l'échelle mondiale
- 109 501 712 $ US
- Durée
- 1h 57m(117 min)
- Couleur
- Rapport de forme
- 2.39 : 1







