In many ways, Alien is a film about sex, how society understands it and how it affects others. This symbolism presents itself in almost every aspect of the film through a wide variety of motifs, ranging from the obvious visual metaphor of the Facehugger and Chestburster scenes representing sexual assault and forced reproduction, as well as the phallic design of the Xenomorph, to the more subtle details like the crew of the Nostromo referring to the ship’s computer as “MOTHER”. For some audiences, Alien’s innate eroticism may be one of the most significant parts of the film’s enduring appeal. Of course, many low-budget Alien knockoffs responded to these analogies by offering a multitude of erogenous images without any real nuance. However, there is one notable Alien copycat that attempted to address the subconsciously prurient themes of Ridley Scott’s film: 1981’s Inseminoid.
Partially funded by the prolific Shaw Brothers Studio, Inseminoid was directed by Norman J. Warren, a British filmmaker who specialized in erotic dramas like Her Private Hell and horror films such as Satan’s Slave and Prey. The story, penned by the married couple of Gloria and Nick Maley, involves a interplanetary mining expedition that goes dangerously wrong after Sandy, a crew member, is raped by a hostile extraterrestrial. The unborn hybrid twins, designed by Nick Maley, proceed to control Sandy’s mind in an effort to protect themselves. If you’ve never seen this film before, the premise itself may be an obstacle that keeps you from truly enjoying the overall work. On one hand, Judy Geeson (The Eagle Has Landed) easily provides the most intriguing performance in the film as Sandy, managing to compellingly balance sympathy and intimidation. On the other hand, it’s very troubling that after Sandy is impregnated, she is somewhat dehumanized by the narrative by becoming a puppet for her unwanted offspring. Compared to Alien’s understated and sophisticated approach to the topic of sexual violence, Inseminoid almost seems to address Sandy’s situation like a carnival barker beckoning guests to see the sideshow. Although Warren’s direction throughout the rest of the film brings the appropriate amount of gloom and suspense, it falters in its portrayal of Sandy’s plight by wallowing in her pain and confusion.
Sandy’s treatment aside, I’d say that Inseminoid still holds together as an adequate Alien facsimile. It has above-average acting, creative cinematography and a stirring electronic score by John Scott. Perhaps if it was a little more mindful of its central character’s agony, it could have gained a better reputation as a cult classic.