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In the early decades of cinema history sci-fi stories about deep space largely took on one of two narratives: heroic conquest or scientific exploration. Even 2001: A Space Odyssey, for all its groundbreaking work on the style and tone of science fiction, was fairly familiar ground as to the kind of story it was looking to tell.
In that sense, Alien was one of the first films to put down some of what Outland is picking up; a vision of deep space, not as a place of wondrous majesty and unknown possibility, but instead as a place where people live and work.
This is the narrative of “hard” sci-fi. That if we ever truly do move into the stars for more than simple scientific and fact-finding missions, it will become a workaday job. Operating with that framework, Sean Connery playing a deep space sheriff facing a “high noon” showdown becomes not just a space-western but a major step forward in science fiction narratives on film.
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