星际之门

1994年的电影，从画面特效来看，已经实属不错了。该片最大的脑洞应该就是人们对于埃及“金字塔”最大的猜想，外星文明的“充电桩”，或者说是“基站”。

先说这部片子的不足吧，首先要说明的就是，里面存在很多不严谨的地方，比如探测器传送到外星系，回传的讯息居然是实时同步的；人传过去居然不穿防护服，等等。

其次，影片中外星文明的形象从头到尾都没有彻底的展露过，外星文明的科技也是Low的不行，没有特别超前的技术，或者说维度上的技术差距。这可能受限于当时的科技状态，毕竟19世纪连触屏手机还没有，限制了人们的想象力。

剧情上的话，人们传送到宇宙的另一端，解放了当地的奴隶（同是人类），甚至劳动力和生产资料都还处于原始社会。这就算了，居然连同着这些劳苦大众们，用最原始的工具，就推翻了一个可以星际航行的外星文明，哪怕这个外星文明只有5个人。。。

好吧，这和当时的美国宣扬的政治立场和民族文化有很大的关系，也不多谈。

那就谈谈这部片子最大的脑洞，金字塔。人们对于金字塔的谜团解读经久不衰，总认为这样一件事物不应当是人类自己的产物，把他归结于外星文明的遗留可能更恰如其分。而金字塔的最终的作用，一定也是联系着外星文明，太空等等。无论是玛雅的金字塔，月球背面的图案；还是埃及的金字塔，人们对于金字塔和太空的联系，非常自然的就联系到了一起。

对于法老的装束，神话信仰等等，也都化为了外星文明控制人类的一种手段和科技。

人类的起源的猜想也是科幻片最喜欢探究的一个话题。该影片给到了一种猜想：人类的起源归结于外星文明的放牧，地球是牧场之一，“星际之门”传送的另一个地方也同样是“牧场”。但由于不知情的原因，外星文明消失了，导致地球人类真的被放养，这才有了科技的进步和发展。不过即便如此，对于当时的科技手段来说，开启星际之门也应当是天方夜谭才对。

总体来说，不失为一部很有想象力的作品吧，无聊时可以看看。美剧《星际之门》系列据说出了好多季，我没有看过所以不予置评，但应当是各种发散的想象力吧。另外，女主真的很好看，哈哈哈。

Having laid the foundation of a nexus of television spin-offs thenceforward(persisting two and a half decades and ongoing, with a possible reboot in gestation), Roland Emmerich’s filmic progenitor is de facto less a hardcore Sci-Fi adventure than a thinly veiled propaganda piece of colonialism, which nominally transports a contingent of earthlings (all American soldiers bar one scientist) into a terra incognita through a wormhole generated by Stargate, a mysterious instrument disinterred in Egypt.

A classic pair of brain and brawn, Daniel Jackson (Spader, when he is personable to a fault),an Egyptologist and Colonel Jack O’Neil (Russell, sporting a neat crew-cut) takes the leads, what they discover is a desert planet inhabited by Ancient Egyptians, enslaved by Ra, the God of Sun (an epicene Jay Davidson in his second and last film role before retiring from the showbiz altogether), a big question mark should be alerted for the ethnic semblance here, which can be readily construed as a crass fable boasting USA’s heroic inference of a less developed nation here on earth, liberating its downtrodden people and debunking the truth of their God (or any totalitarian figure), tellingly, the film’s atheist and scientific stance looks promising, but soon a sweeping whiff of smugness and self-congratulation will swamp everything and tenacious to dissipate.

As it turns out, the real identity of the so-called Ra, isan alien hosting a human body (thousands of years before he hijacked early humans to this remote planet and started his draconian rule), and what he presides over is a pretty tinpot reign (in spite of his stately pyramid-shaped spaceship), not only is he doomed to be vanquished by a team of earthlings in the end (yes, O’Neil follows the order, andsurreptitiously bringsa portable nuclear bomb on board in case of contingency, this is very American), but also he is clearly in short measure of both materiel and personnel in the first place (a dozen underlings and three laser-shooting aircrafts, that is all), not to mention the sole victim subjected to his seemingly almighty puissance is after all, one of his own incompetent guard.

Among the extraterrestrial hoi polloi, due focal points are projected to a rebellious youngster Skaara (Cruz) and a beauteous Sha’uri (Avital), who is bequeathed as a wife to Jackson by her father Kasuf (Avari), the leader of the tribe, whose awakening-to-rising route is a well-trodden but insipidly crafted one. If one must single out an asset from the entire enterprise, it could only be the set-up of the titular Stargate, an abstruse device can literally open portals to every nook and cranny of our cosmic universe (depending on which group of coordinates one employs), however,Emmerich is not a Sci-Fi polymath but a workmanlike skin-scratcher, so the end result is proximate to anyone’s skeptic forecast.

referential films: Emmerich’s WHITE HOUSE DOWN (2013, 5.5/10), INDEPENDENCE DAY (1996, 6.9/10).