This past July 14th marked the 100th anniversary of the birth of actor Harry Dean Stanton. In tribute to Stanton, who passed away in 2017 at the age of 91, The Brattle Theatre showed more than a dozen of his films in a retrospective called "The Stanton Rule: A Harry Dean Stanton Centennial".
The Stanton Rule was coined by the late film critic Roger Ebert (who also attributed the rule to M. Emmet Walsh) stated, "No movie featuring either Harry Dean Stanton or M. Emmet Walsh in supporting role can be altogether bad."
I only viewed two of those films - Alien (1979) and Paris, Texas (1984) which I did last night and this afternoon, respectively. With that, let me discuss these films in reverse order.
Paris, Texas
Those of you familiar with dispatches will know that Paris, Texas is among my favorite films ever made. I wrote about my experiences viewing Paris, Texas at The Brattle in December 2021 so I won't add too much here. It is one of those films which I will pay to see if it is playing in a theatre. I saw it again at The Brattle in November 2024. It was a Saturday night, and it was the longest lineup I've ever been in to see a movie at The Brattle.
I wish Harry Dean Stanton had been given more chances to be a film lead. Yet with that said, if he had more chances to be a film lead then perhaps Paris, Texas wouldn't be as a special as it is. Stanton had a face you couldn't keep your eyes off of and a voice which conveyed authority when it was heard. At the same time, Stanton could go half a film without uttering a word as he did in Paris, Texas and convey the same sort of presence.
Stanton's portrayal of Travis Henderson is mostly sympathetic, but we get indications of his cruelty and darkness towards his estranged wife Jane (Nastassja Kinski). While Travis never reverts to that state, he knows all too well that is where he will go should he reunite with Jane. So, he makes the decision to reunite Jane with his son (Hunter Carson) with whom he only recently reconnected and disappear from their lives forever.
It is not a Hollywood ending but it wouldn't be a Wim Wenders film if it was a Hollywood ending. Indeed, most of us will not have Hollywood endings and sometimes the best we can hope for is to walk away for the greater good.
Alien
Let me begin with a confession.
This was the first time I have ever seen Alien.
Of course, I am aware that this film was Sigourney Weaver's breakout role and I am also aware that an alien came out of John Hurt's stomach and would do so again nearly decade later at the end of Mel Brooks in Spaceballs. But I did not know the story.
It was only the second film Ridley Scott ever directed. Much of the film is very deliberate and quiet with brief interludes of classical music. This reminded me a great deal of Stanley Kubrick's 2001: A Space Odyssey which I saw most recently at the Brattle on New Year's Eve 2022 in a double feature with Everything, Everywhere All at Once.
Aliens features a seven-person cast aboard the cargo ship Nostromo starring Tom Skerritt (Dallas), Sigourney Weaver (Ripley), Veronica Cartwright (Lambert), John Hurt (Kane), Ian Holm (Ash), Yaphet Kotto (Parker) and Harry Dean Stanton (Brett). OK, there is an orange cat named Jones.
As for Stanton, Brett doesn't have that much to do in the film as Parker's engineering assistant other than say "yep". His big scene is when he is sent off alone to find Jones on the ship though he does so with his Stantonesque charm making the most of his limited screen time. As soon as he is sent off by himself, you know full well he is going to be eaten alive by the alien.
Ah, yes, the alien. There is a lot of food for thought here though it isn't very appetizing. The crew of the Nostromo is dispatched to a planet where there appears to be intelligent life. Dallas, Lambert and Kane go down to the planet's surface to investigate. During the course of their investigation, an alien life form attacks Kane and clings to his body.
When Dallas and Lambert bring Kane back to the Nostromo, Ripley refuses to let them back in for fear of contaminating the ship citing unspecified quarantine regulations. But Ash overrides Ripley and lets them in with disastrous results which eventually leave Ripley and the orange cat as the only survivors.
Yet there is no guarantee that disaster would have been averted had Ripley not let them in. While Ripley had an arguable point, I don't think she thought things through. As Dallas and Lambert argued, Kane was near death. Had Ripley refused to allow Dallas, Lambert and Kane into the ship all three of them could have perished as the planet's surface was well below freezing.
But let us suppose that Dallas, Lambert and Kane had survived the quarantine period. It doesn't change the fact that they were dealing with a species of unknown origin. The incubation period could have been well beyond the quarantine. In other words, the Nostromo could have faced the same fate - quarantine or no quarantine.
Even Ripley didn't weigh her choices as she should have, she wasn't faced with a good choice and bad choice but rather several risky choices with no guarantee of success even if Ash hadn't interfered and let the trio aboard. Of course, as it turns out, Ash was an android who had a secret directive to capture the alien and bring it back to them regardless of the crew's safety. Mix this into the equation and the crew of the Nostromo was in a no-win situation.
Under the circumstances, it is easy to see why Alien held its own with Star Wars in the pantheon of late 1970's space-based science fiction movies precisely because it wasn't trying to be a science fiction movie but rather a horror film.
Of course, it didn't hurt that Harry Dean Stanton was in the film. It never does.