‘Alien: Romulus’s biggest cameo is its greatest error
Let’s talk about Alien resurrection. No, not the fourth film in the Alien series, but rather the ghoulish real-life resurrection at the heart of Alien: Romulus.
The film, directed by Fede Álvarez, brings a familiar face back to the Alien franchise: that of the late Sir Ian Holm. Holm played the Nostromo’s synthetic science officer Ash in 1979’s Alien. In Alien: Romulus, he “appears” as Rook, a Weyland-Yutani synthetic who is the same model as Ash, and who serves as the science officer for the Renaissance space station.
I say “appears” because Holm, who passed away in June 2020, is unable to perform in Alien: Romulus. Instead, the film uses an animatronic body and CGI to create a simulacrum of Holm. Actor Daniel Betts also provided facial and vocal performances, which were then altered by generative AI and computer modeling to get closer to Holm’s. The result lives in the depths of the uncanny valley, alongside Rogue One‘s revival of Peter Cushing’s Grand Moff Tarkin and The Flash‘s cameo from Christopher Reeve’s Superman.
However, Alien: Romulus‘s Rook has far more screen time than these prior examples, playing first an expository role, then an antagonistic one for the film’s young heroes. Each extended appearance is more unsettling than the last, to the point that I dreaded seeing Rook far more than I dreaded any Xenomorph. Not because Rook is a frightening character, but because his presence here snaps you out of an otherwise very fun movie, pointing instead to a disturbing filmmaking practice that mines cheap nostalgia from a late actor’s work — and that could have been entirely avoided in the first place.
Why is Ian Holm’s Alien: Romulus resurrection so troubling?
Let’s start out with the obvious: No matter what permissions an estate may grant, a late actor cannot consent to having their likeness used in a movie. Doing so is an immediate violation of their personhood. In reviving them for the screen, you’re creating a performance in a film they might never have agreed to do, with acting choices they might never have made.
That’s because the version of Holm we see in Alien: Romulus isn’t really Holm. It’s a puppet of a character he once played, being pulled out of the Alien toy box in order to score nostalgia points in a movie that’s already too full of callbacks. Like Reeve and Cushing, Holm becomes an avatar for misguided fan service, instead of remaining an actor with agency. No wonder concerns about digital replicas of actors and their use after death became a key part of SAG-AFTRA’s 2023 contract.
The presence of Holm’s likeness in Alien: Romulus is also a smack in the face to the film’s own themes. Here is a movie that criticizes how corporations work employees to death, with one of its first scenes establishing that Weyland-Yutani keeps moving the goalposts of Rain Carradine’s (Cailee Spaeny, Civil War, Priscilla) contract until it’s effectively a death sentence. Yet Alien: Romulus is awfully comfortable working the image of an actor’s body beyond death. Elsewhere, the great horror of the facehuggers and Xenomorphs remains the hijacking of our own bodies for alien needs. Does Alien: Romulus not see how its use of Holm’s likeness is a similar kind of hijacking?
Alien: Romulus didn’t need Rook in the first place.
An extra frustrating element of this situation is the fact that Alien: Romulus didn’t even need Rook to be effective. Rain and her companions have no idea about the events of Alien on the Nostromo, or who Ash is, so seeing Rook means nothing to them in-world. His presence here is pure fan service, with no actual depth behind it. Sure, the sentiment would have been the same had Álvarez brought back Bishop (Lance Henriksen) from Aliens and Alien 3 or David (Michael Fassbender) from Prometheus and Alien: Covenant, but at least then the director wouldn’t have been manufacturing a performance from a deceased Holm.
Just bring in another version of Andy.
In an interview with Entertainment Weekly, Álvarez pointed to a “limited amount of synthetics” as being the reason why he and producer Ridley Scott decided to bring Rook back. Yet even if that limit prevented the creation of another original synthetic beyond Andy (David Jonsson, Industry, Rye Lane), there is still a solution for who could fulfill Rook’s role onboard the Renaissance without stooping to fan service. Just bring in another version of Andy. After all, the movie is named Romulus, after famed Roman twins Remus and Romulus — twin shenanigans would only make sense here!
Yes, the Alien franchise has pulled the synthetic twins trick before, with Walter and David in Alien: Covenant. But out of all the callbacks Alien: Romulus has to other Alien films, I think double Andy has the potential to be the most rewarding.
For starters, another synthetic who looks like Andy would actually mean something to Rain and her companions. They’d have more of a reason to trust him upon first meeting him, just by virtue of his resemblance to Rain’s brother alone. That’s already a step above fan service.
Then, there’s Andy’s reaction to his own doppelgänger to consider. Aside from Rain, Andy is fairly isolated from the rest of the anti-synthetic crew, and from the rest of the Jackson’s Star Colony. What happens if he sees someone who is exactly like him? Does he form some kind of synthetic kinship with his double, especially after learning that Rain plans to decommission him when she makes it to Yvaga?
If there is any trust there, that adds an extra layer of heartbreak to the moment when Andy switches over to being just another vessel for doing Weyland-Yutani’s bidding, powered by Rook’s chip. Think of Andy’s turn there like a reverse Walter and David situation. While David tried to turn Walter against his crew in order to free him from a life of service, Andy’s turned against his crew in order to serve Weyland-Yutani. When it’s his lookalike facilitating that turn, it becomes more of a betrayal of self, instead of a possible self-liberation.
Twice the Andy is just one solution to the question of, “which synthetic should be onboard the Renaissance?” (A solution that would give Jonsson even more room to flex his impressive range.) There are countless others, including just making Rook an original synthetic and casting any other actor in the part. But there’s only one truly incorrect answer, and that’s the route Alien: Romulus takes.
