SPECIES Explained: Playing with Femininity and Horror

There are science fiction films that terrify. There are science fiction films that, in addition to terrifying, can also excite. Species from 1995 is just such a film. Sinister and sexy. When making first contact, there is always a risk. You never know who your counterpart really is. Sending radio signals or probes into space with the aim of reaching alien civilizations is highly problematic, as scientists well know. Revealing information about oneself and one’s location may act as an invitation for an enemy to attack. So, is it better to remain in the shadows and not develop, or to step out and risk contact with something that will treat us as an inferior species?

Humanity takes the risk. In the 1970s, a signal containing the genetic code of Earth’s inhabitants is sent into space. Several years later, a response is received, containing another clue. The aliens send instructions on how to merge their DNA with human DNA. In a secret base, geneticist Xavier Fitch (Ben Kingsley) decides to conduct an experiment. The new organism is a girl, Sil, who only pretends to be innocent. When she realizes the danger, she escapes, aided by her superhuman physical abilities. When she begins to seek a mate for reproduction, she will need to use other aspects of her physicality. She won’t stop until she finds a way to ensure the continuity of her species.

I like these plots where the viewer is faced with a truly cosmic problem. To solve it, a team of specialists is assembled, each representing a different scientific field or profession. Alfred Molina plays an anthropologist, and Michael Madsen – a skilled headhunter. These extremes are, of course, meant to complement each other during the pursuit of the prey. However, the most interesting character in Species is the one played by Forest Whitaker, who is… an empath. This means that, far more effectively than the rest of his companions, he is able to immerse himself in Sil’s emotions, understand her point of view. His methods and predictions often yield favorable results. This brings an interesting conclusion – the brilliant minds of scientists fail where emotions are involved.

These emotions are not lacking in Roger Donaldson’s film. One could safely say that this is one of the most sensuous science fiction films in history. All thanks to the performance of Canadian model Natasha Henstridge, making her debut in the film, and the erotic scenes involving her. She is truly mesmerizing in Species, and it’s incredibly hard to take your eyes off her beautiful body. Her innocent, pure beauty perfectly realizes the character’s use of sex appeal as a tool to exert influence. It works both on targets encountered in the club and on the viewer himself. I once read that after the film’s premiere, the audience split into two groups. The first was interested in the film, but the second went to see it only for Natasha’s bare breasts. I’m not sure which group I belong to today – I think I’m standing on the fence.

Just like its sibling Alien, Species is bursting with sexual references. And this time, it’s accompanied by the exploration of the fear zone – especially the male one. And what’s even more interesting, H.R. Giger helped create these fears once again. Although the artist clearly repeats some of his ideas, and some of the scenes of bodily horror seem a bit pretextual (for example, I don’t understand the death of the woman in the club), this peculiar dance of fear and sensuality worked out strangely well in Species. Most importantly, Sil, as she was meant to fascinate, was also meant to frighten, and she successfully achieved this effect. She embodies the femme fatale, bringing ruin to men, hiding potential for destruction within herself, but at the same time, she effectively lulls her partners into complacency with her charm.

Thus, Species is a great material for metaphorical interpretation. Its reading is interesting today, in the era of the #MeToo movement, to which Natasha Henstridge herself joined (accusing Brett Ratner of sexual harassment). The most famous of her films reverses the positions of predator and prey. Sil is a woman fully aware of her power, needing a man only for reproduction, not for building a relationship. In this setup, the man is merely a sperm donor. The female selects her partners like fruit at the market in search of the right model. Once she finds him and lets him plant roots in her, she disposes of him like a praying mantis. Taming such a force is truly an art.

Half human, half alien. Which half is the predator?

The dead half.