In a marvel in art direction, staging, and theatrical effects, Alien demonstrates true originality in invoking the quintessential idea of survival horror. The notion of man’s desires to struggle for more life involves himself necessarily with the ever-present danger of experiencing the loss of his body. Terminally. For ever.

As cosmic beings, human cell life organizes to such logical restraint from self-certain extermination. And yet, what is morally portrayed by the assembled on-screen team, of a skeleton crew on assignment to recover rare earth metals yet are mandated to investigate a signal transponder by their contractual agreement, or else forfeit their earnings, is an astonishing moral truth about man living in such a universe where such a hideous space-roach pulsates.

In a world where there is injustice, for instance in the historical development of the necessity of the African crew member’s need to take a forlorn job, where there is such a twisted political agreement toward the constant development of biological weaponry to utilize the advances of digital electronic control systems in aerospace to pilot the fate of the human race towards more endless violence, there is the certainty, if not expectancy, of human betrayal, or liars.

The Lie in the film is in the betrayal of the goodwill of the crew in their sincere motivations to profit out of their desire to continue to live more, however basic their needs are in struggling for life. The conceit in tying them to a dead man’s errand for selfish gain is the ruin of lies. It is the significance in cinematically representing a human age where such conduct is even considered to be expected, and that hostility towards other people, a dire need to distrust, becomes ever persistent in industrially organized capital transfers between faceless business firms. With such governmental expenditures in consistent agreement with the false crew member – he turns out to be a robot – quack’s happiest of sympathies from his humanly programmed judgment on what makes beautiful cell life – and that is exquisite predation – it is no wonder there is a need at all to program a mission where the crew are totally, mercilessly, expendable.

In such a world where there is such a rottenness on Planet Earth, where there is outright injustice which reigns supreme, where might makes right is thought as absolute reality, how can there be such harmoniously complex coordinated human action to scale to such technological zeniths? It must be due to the outright bondage of the fruits of the toil of those generations who principled such technological action before. A higher moral universe than what the humans in the film’s age desire to physically perceive, versus mathematically – such as the enjoyment of contemplating good thoughts, for they are innumerable in the human cosmos.

An Egyptian Tyranny in the space age pours out such a cultural extension of desiring grotesquerie on Earth, not harmony. It is Alien or Orpheus, where the sweet salt tears of the poet always needs soothing. Judge for yourself: which is more beautiful?