Alien Resurrection

by Narziss

The Alien series has always stood apart as quality films by White directors (Scott, Cameron, Fincher, Jeunet); movies regarded as special by critics and fans alike. The films popularized the art of the Swiss H.R. Giger, and are loaded with the same sort of diabolic Freudian and religious symbolism rife in his art. Yet while entire University courses have been dedicated to picking through these nether levels of symbolism, the most obvious symbolic interpretation has been ignored.

I tried for a long time to avoid acknowledging the racist essence of the Alien movies. To tag them as racist seemed facile and a tad smarmy. Yet, upon recent collation my thoughts have attained certain inescapable conclusions: 'Alien invasion' films are the collective subconscious trying to warn us about our real alien invasion. The Alien series in particular, stands out as a warning to Whites against the dangers of integration, and of traitorous forms of government within. All four films feature the predominantly White characters menaced by hyperviolent, black-skinned alien creatures bent on murder and forced race-mixing.

"Alien Resurrection" (1997), as the best example of the four, is coded to show how different genetic breeds of humans are fundamentally socially incompatible. In the larger context of the Alien films, "Alien Resurrection" represents the series' nadir of the encroachment of foreign genetic pollution and the destruction of the White Race. Herein I will explain how race and its interactions are symbolised in this film at a level invisible to the racially unconscious.

This film premises itself on a racial experiment attempting to introduce non-Whites into society and successfully exploit and pacify them. The scientists responsible are aging White liberals - motivated, talented activists assimilated into the mainstream by the tech sector - complete with pony tails, butchy women, and a token mulatto female. Their leader is an incompetent Hispanic, who commands a racially-mixed army of cowards and bubblegum-chewing morons.

The film begins with contaminated blood, and the use of this racially-tainted blood to create a selection of freaks and misfits, from which ever-darker-skinned, and ever-more-violent animals can be bred. Her character now a White slave, Sigourney Weaver herself looks subtly darker in this film, swarthier than before, when we last saw her as the final female skinhead martyr to her race in "Alien 3."

Her bastard offspring are used in a scheme of White slavery that involves the hapless working class, preyed upon by the slavers, the scientists, and their alcoholic race traitor pirate allies, to create an influx of cannibalistic blacks kept in their welfare cages and studied by the Pollyannaish, ludicrously unprepared scientists.

Make no mistake, this film is both a skilful (if redundant) propaganda piece once again further ironing onto our collective brains our modern egalitarian society's unquestionable doctrine of inexorable racial integration, with the invading monsters played for laughs and ultimately erotic and imitable. Beneath the humour it is a poignant distress call for the White race, a call - 'call,' remember that word - to wake up, and yet one sabotaged by the film itself, collapsing resistance into a false victory, and a true victory for the deceivers, in typical Postmodern ironic fashion.

Both of its main characters are White slaves. Jewess Winona Ryder's character 'Call,' purposefully cast as an anemic irritant, is the only character with purely White blood (literally white, in this case), and the only one who actually gives a damn about her race, who wants to stop the alien race and abort the miscegenation experiments. She is quite simply the only racially conscious character in the film. No small irony or hidden meaning in this! Childlike in stature and behaviour, she is also a White slave, most likely a child sex slave judging by her looks.

When she first comes to assassinate Ripley, the rape victim/slave, her own inefficiency (partly the egalitarian mistake of sending a neurotic girl instead of a trained man on the mission, causing us to wonder about her 'resistance organisation') is her undoing. She hesitates, and can't act, even when invited to by the jaded, racially demoralised Ripley to do so. Ripley quickly takes command of the situation, mutilating her own hand like in some twisted Kabbalist ritual, with her tattoo quite obvious, seducing Call with lesbian undertones, and of course delaying her long enough to send her into an ambush outside Ripley's cell.

Call is branded a 'terrorist,' by the establishment, which plans to execute her and the pirate patsies. A supercool black gunslinger turns the tables allowing the pirates to escape, trying to get off the ship (of state?) before they are killed. First the slave-trading, woman-bashing pirate leader gets killed for his moronic greed, after which Ripley appears and kills the offending black Alien. No one else could defeat it, despite their armaments, by the constant appeals to the fragility of the ship. Call makes another racially aware remark, I can't believe you killed one of them. It's like killing your own kind,' which Ripley, now an individualist, brushes off by saying 'It was in my way.'

During the Alien escape, which occurs when the scientists are entranced by a television screen and not minding the cages, the soldiers on board are ordered to evacuate. At one point, around ten White soldiers are aboard a pod, when an Hispanic soldier rushes in to join them. Before the pod leaves, an Alien rushes into the pod. The result is a literal racial blender' effect with blood everywhere. The Hispanic tries to escape but gets dragged back in by the Alien. This is one of the most surprising metaphors for race-mixing I've ever seen.

Later on, Hillard, the pirate leader's girlfriend with a subtly Negroid style of braided hair and a compassionate attitude, gets killed in the much-publicised underwater scene, in which the characters swim through a flooded kitchen. In interviews with the actors we learn that the water, though crystalline in the film, was sickness-inducing and filthy, containing, among garbage and other contaminants, dead pink pigs. Hillard, even though overburdened with weapons, can't think to use them and gets dragged to her death. The only hero is White Johner, who knows an enemy when he sees one and wastes no time blowing one of the Aliens away with a grenade launcher.

Before they can leave the kitchen via an exit-pool, they must destroy a number of infectious Alien eggs which surround them. Johner also recognises the religious collusion at work here, when Ripley is attacked by one of the facehugger creatures from an egg. "Jesus Christ! It's a god damn trap! It's a god damn ambush!" Christianity is part of the broad set of conditions which have been exploited to attack the White race - in this case attempting to proselytise' Ripley by raping her. The others retreat before they are attacked, and the supercool black guy Christie once again saves them, as he neutralises the eggs.

Immediately after that scene we have the characters fleeing the remaining Alien up what seems like a ladder of evolution, or fitness. Foremost is the treacherous Wren (White), followed by Call and Johner (both White), then Vriess (White) and his buddy Christie (black), tailed by the Alien, with Distephano (Hispanic) and Ripley (Mulatto) waiting uselessly off to the side in the buttresses, and the sexually explicit eggs lying fungus-like at the bottom.

This is definitely a weird scene. First, the treacherous Wren murders Call outright and she falls back into the Alien sewer-pool. Her friend the crippled Vriess attempts to murder the doctor in retaliation, but his gun jams, letting Wren escape. Ripley makes a halfhearted attempt to stop him, while the others, though nearly all of them are armed, do nothing, simply staring stupidly. Next, the Alien attacks from below, and gets the better of Christie, who appeals to Johner above for help. After inexplicably taking a long time to respond, Johner finally shoots at the Alien and kills it. Christie's reaction is even stranger: burned by the creature's blood, he simply detaches himself from his safety harness and falls to his death in the sewer-pool along with the creature.

Who saves them then, but Call herself, miraculously resurrected by the power of her White blood. She tries to conceal her heritage, but gets exposed by Ripley, and thereupon is subject to a tirade of objectification and jokes at her expense. Distephano practically jumps up and down with glee, talking about how he'd never thought he'd actually see one - does he mean actually see a 'racialist'? White racialists are dehumanised, deemed robots, designed by robots' when in fact their heritage gives them special abilities - Call's compassion for her race, even for traitors like the scientists, is uncanny.

Why do you care what happens to [humans]?' asks Ripley of Call. "Because I'm programmed to." Call replies. Ripley puts the racial warrior in her place by saying, "You're programmed to be an asshole? You're the new asshole model they're putting out?" Do I even need to explain this? Call also has the unique ability to control the ship's computer, and is brought to another weird scene: Ripley leads her into a Christian chapel, where Call makes a Catholic obsequy. Ripley coaxes her into taking control of the ship's computer, by impelling her to insert a lead into her arm reminiscent of an intravenous drug-user. Call can't destroy the ship at this point, but can only reroute it to destroy itself on Earth.

The cast villain, arrogant White scientist Wren, wants them to avoid aborting the racial experiment, and instead reroute the ship to dock at Earth-base. Johner, depicted as an brutish, gun-loving drunken hick of a White man, becomes racially conscious enough by this time that he asks Wren, Yeah, haven't you been paying attention today [that the black aliens are bad news]?, only to have his intellect besmirched yet again by Wren's sarcastic dismissal, "Oh, the intellect speaks!" The hapless race-mixing victim/White slave Purvis ends up waxing desperately heroic and killing the scientist even as he himself dies from the parasite inside him, splattering the others with blood.

En route to their escape ship, Ripley gets drawn into what amounts to an Alien sex cult, complete with a sex scene that can be seen as either interracial or interspecies depending on where you get your kicks. In the sanctum sanctorum smeared with blood and slime we see the White scientists cocooned helplessly, yet avidly watching the goings-on. Eventually things turn violent and Ripley flees this cult, followed by a psychotic mulatto Alien spawn called the 'Newborn.'

The height of disgustingness in the film, and in the series itself for that matter, is reserved for this hybrid misfit Newborn, which kills both a White scientist and an Hispanic soldier, before attacking and symbolically raping Call, held at bay only by Ripley, who later kills the dangerous beast in a symbolic abortion. As the great ship sends the black Aliens hurtling into subtropical Africa, in an escape ship (named after a White woman) the four battle-scarred White warriors, are the only survivors. The ending feels over-triumphalist and cheap, with the pristine Earth spread out beneath them. Perhaps this is because we know that neither of the females can bear White children, Johner remains frustrated, and Vriess is impotent. The Whites have survived but are doomed.

I leave the rest of the series for the reader to interpret. The first film especially has lots of racial metaphor. The second focuses more on the US Vietnam experience, and the third deals with the AIDS epidemic, but the racial messages remain throughout. Watch this film as a grand metaphor from the end of the 20th Century, and enjoy soldiers fighting righteously for their race against internal treachery and horrific adversaries. Note a moral of the films, too: That it is treason within, not the Aliens themselves, which cause the trouble. In each film, White and Jewish complicity, apathy, and/or treachery create all the problems; with full cooperation, humans with their intelligence and science could whip the Aliens easily. Something to think about.


Do you have a comment on this review? Your own opinion? Send it to :

Back to VNN Main Page

Click Here!