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Assignment 1: Essay
Ian Coomber

You are to choose one feature length film you believe is alternative. You are asked to analyse
its style and place within the larger discourses of alternative cinema, as well as firmly
placing it within historical contexts. Develop a convincing and scholarly sound argument as
to HOW and WHY your chosen film is alternative.

Cypher – Vincenzo Natali, 2002.

One of the most important things to remember about alternative cinema is that there is no one-way

to define the term ‘alternative’. When trying to classify a film, it is easy to describe something

using terms like ‘mainstream’ and ‘alternative’, but there are many films that feature elements of

both these terms, and fall somewhere in the middle of a spectrum as opposed to being either one

or the other binary opposite. The same can be said when describing films as ‘Hollywood’, or

‘studio’ and ‘independent’ 1. Whilst many films can be described as alternative, they can be placed

at different points of the spectrum, as they fall under different categories for different reasons, and

to different extents. There are many films, for which their ‘alternative’ status is arguable, as it is

hard to precisely say how it should be classified. Cypher, is just one of these films. Combining

elements of both ‘mainstream’, and ‘alternative’, as well as those of ‘Hollywood’ and

‘independent’ cinema, Cypher can very much be described as alternative, but must be looked at

closely, and appropriately.

Cypher follows the story of Morgan Sullivan (Jeremy Northam), who, at the start of the film, is

unhappy both at home and in his job. By starting a new job as an industrial spy at Digicorp, he

happily agrees to accept the secrecy and risks that come with his newfound profession, and is

given the new alias of Jack Thursby. Whilst being sent to various conferences around America,

where he believes he is spying on behalf of Digicorp, Sullivan meets, and is immediately attracted

to Rita foster (Lucy Liu). Through his association with Foster, Sullivan discovers that the

conferences are merely a subterfuge for Digicorp to brainwash its employees into believing that

1
It should be noted that throughout this essay, terms such as these are used in the broadest possible sense, and should
not be taken as literal meanings.
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Ian Coomber

their aliases are their true identities. Thinking they have brainwashed Sullivan into believing he is

Thursby, Digicorp send him to infiltrate their rival company, Sunways Systems. Infuriated at

being a pawn, trapped in the middle of the rivalry between these two companies, Sullivan contacts

Foster again to help him get out of his situation, and we learn that she is working for Sebastian

Rooks, adding another element to the already mysterious narrative. An extremely private and

secretive man, it was Rooks who was hired by Sunways to give them a spy against Digicorp, (i.e.,

Sullivan). As the story progresses Sullivan becomes increasingly paranoid and entangled in a

situation he has no control over, before eventually being sent to The Vault. When being sent here,

Digicorp use him in hope of gaining access to their rivals most secure facility, Sunways want to

use him to distract and misinform Digicorp, and he is also given another task by Foster, on behalf

of Rooks. In the Vault, Sullivan is greeted by Virgil Dunn (David Hewlett), who is able to identify

him as a double agent. Foster aids him in his escape, and after arriving at Rooks’ penthouse,

realises that he himself, is Rooks. He orchestrated the entire scenario, and had himself

brainwashed to believe he was Morgan Sullivan, in order to gain access to, and remove a

computer file from the Vault. After escaping both Digicorp, and Sunways security forces, it is

discovered that the file Rooks had to go through so much to obtain is the only copy of Fosters

criminal file, which he promptly disposes of in order to keep her safe from harm.

Although there are many other mystery, and thriller films designed to keep the audience guessing,

with a twist revelation, there are not many that take it to such an extent as Cypher. As can be seen

in the preceding outline of the film, the reality perceived by Sullivan, and therefore by the

audience is never stationary. By looking at Scream (Craven, 1996) as an example of a mainstream

film, we can see that the protagonist, Sydney, is constantly surrounded by suspense and mystery

as to the killers identity, but the identity is finally revealed in a firm resolution, so that all the

important information, and therefore the film is completely understood by the end of the first
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Ian Coomber

viewing. Despite the similarities, Cypher takes the mystery further and deeper, and the film itself

should be watched more than once in order to fully understand the complicated plot.

As an example of genre hybridity, many of Cypher’s core elements are those of the science

fiction, and thriller genres, using these to explore the conflict between true and assumed identity.

As Alison Landsberg notes, there are several films that rely heavily on this idea, and she uses the

examples of two films, Total Recall (Verhoeven, 1990) and Blade Runner (Scott, 1982) 2, both

based upon stories written by Philip K. Dick, We Can Remember It For You Wholesale (1966),

and Do Androids Dream Of Electric Sheep (1968), respectively. Both of these successful films,

which can generally be described as both mainstream and Hollywood films, examine the notion of

identity through the conflict between real and fake memories, and both seem to come to the

conclusion that regardless of the origin of these memories, it is how the individual chooses to use

them that is important.

This is in strong contrast to Cypher, in which the fake identity of Sullivan is merely used by

Rooks as a tool to achieve his goals. Whereas Rooks eventually reverts to his true identity, the

protagonist of Total Recall, Quade (Arnold Schwarzenegger), discovers that he has/is an

artificially created identity, but which he ultimately chooses to accept, rejecting his natural

identity. Where the well known, star driven Hollywood film has the clichéd happy ending, of the

hero (Quade’s original identity being one of the ‘bad guys’) emerging triumphant, and ‘getting the

girl’, the alternative film takes a different view. Whilst on the surface, the ending is also happy

and clichéd, (the protagonist literally sails into the sunset with the woman he loves), but when

examined more closely, we can see that the ending is not as ‘happy’ as it first seems. On one hand

we can see that the idea of the real identity being victorious over that of a fake one, “[s]hadow

2
Landsberg, ‘Prosthetic Memory: Total Recall and Blade Runner’, 239-248.
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Ian Coomber

existence is banished by and in favour of real love” 3, which can be seen as a metaphor for the

human spirit beating the control of technology, something not seen in the Hollywood films. On

the other hand however, despite the protagonist assuming his correct identity, the victim we have

been following and associated with through the film (Sullivan) has essentially been killed by

Rooks, who is just as deceitful and ruthless as the technology wielding conglomerates, and is

himself the inventor of the brainwashing technology. The ‘happiness’ of the ending is more

dubious than that of the Hollywood film.

By comparing Cypher to Total Recall in this way, we can see that the films ending can be

considered as ‘alternative’ in style, and by comparing it to Blade Runner, we can also see how it is

‘independent’ in style. One of the main factors of independent cinema is that the filmmakers

generally retain artistic control over their film, rather than having to answer to a studio, who will

often set guidelines and conditions to which the filmmakers, and finished film must adhere to. If

we use the idea of ‘artist’/‘studio’ association as a way of examining the notion of

‘independent’/‘Hollywood’, Blade Runner can be used as an excellent example. The theatrical

version was released in 1982; but was followed by a director’s cut version in 1993. Unlike the

original ‘studio’ version, the director’s cut includes extra footage that creates ambivalence as to

the origin of the memories, and therefore the true identity of the protagonist, Deckard (Harrison

Ford). The independent artist chooses to add extra dimensions to the characters and film to better

suit his artistic vision, while the Hollywood studio chooses to take less risks with a more

straightforward story in order to avoid potentially alienating a large portion of cinemagoers. By

having more creative freedom, Natali would have been able to include more alternative

techniques.

3
Hotchkiss, ‘ “Still In The Game” ‘, 21.
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Assignment 1: Essay
Ian Coomber

Perhaps one of the biggest differences between Hollywood, and independent films is that of

spectacle. Many Hollywood films will have big budgets with which to make a highly spectacular

visual experience, in order to attract the widest possible audience. Most independent films

however, pay more attention to the script, which is essentially the backbone of the film, on which

the substance of the narrative, characterisation, and often, where a message stems from. Like

Cypher, “science fiction films can be read as explorations of the fate of humanity in a world often

depicted as increasingly dominated by the products of science, technology and rationality.” 4 In

Cypher we can clearly see that this relates specifically to the idea that technology in the hands of

those in power, in this case major conglomerates, could be used for the most diabolical means, to

the detriment of the individual. Whilst it would have been easy to make Cypher a spectacle film,

using a multitude of visual effects, the film instead focuses on the inclusion of an overall message.

When looking at the visual style of alternative films such as Cypher, there are similarities with

contemporary mainstream films such as Minority Report (Spielberg, 2002), also based on a Philip

K. Dick story. Released in the same year, both can be classed as sci fi thrillers, feature reminiscent

futuristic visual styles, and both use computer-generated special effects. As with so many recent

big budget Hollywood films, with two highly successful names involved (Steven Spielberg, and

Tom Cruise), special effects are used to add to the scope of the environment, and to create visual

spectacles to attract audiences, in hope of making more money. With many cases, such as

Minority Report, this can be justified, but with many can often be a detriment to the overall film.

In comparison to this, is perhaps one of the most Hollywood and mainstream film series, Star

Wars 5. Since being released, the original trilogy has acquired generations of fans, for both its

4
King and Krzywinska, Science Fiction Cinema: From Outerspace to Cyberspace, 11-12.
5
Star Wars (Lucas, 1977), The Empire Strikes Back (Kershner, 1980), Return Of The Jedi, (Marquand, 1983), The
Phantom Menace, Attack Of The Clones and Revenge Of The Sith (Lucas, 1999, 2002, 2005).
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Ian Coomber

characters and plot, and also for the remarkable special effects, created through the use of puppets

and miniatures. Released twenty years later, the highly anticipated prequels have been met with

mixed responses, with many fans feeling disappointed due to the films plots and characterisation

being overlooked and falling victim to the reliance on special effects that had been created

digitally. Cypher has avoided this however, by using special effects that are often hardly

noticeable, carry on the practice of being minimal, and used only when needed to help carry the

complex narrative.

One important artistic style in Cypher is the use of colour. When the film starts, and we see the

central protagonist as Morgan Sullivan, the colours are very subdued. The set and costumes

appear very bland and pale, and it is only when we see the protagonist take on the role of Jack

Thursby that colour is used more distinctly. In comparison to the house of Morgan Sullivan, the

house of Jack Thursby uses a wider variety of brighter colour and decoration. Leading on from

this is the fact that colours are emphasised even more when Sullivan is in contact with Foster (and

therefore his true identity). This is very much a style of alternative cinema. Many mainstream

films such as Schindler’s List (Spielberg, 1993) may draw on monochrome, and/or highlight

specific colours, but generally the use is either consistent throughout the entire length of the film,

or within a specific self contained sequence.

Not only is this style itself seen as more alternative, but so too is the way it is used. Despite the

high level of detail the filmmakers have gone to, in order for this style to have a better effect, they

again use minimalism. Even though it is a highly effective device, it does not attract attention to

itself by being too obvious, which may have been done, if it were more of a mainstream

Hollywood production. It is not often a film will use a technique like this in such a subdued

manner.
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Assignment 1: Essay
Ian Coomber

One important factor to remember about Cypher is that unlike many mainstream and Hollywood

films, the key people in the making of this film had very little experience of making feature films

when making Cypher. Despite having made many of his own short films, Natali had only directed

one feature film prior to working on Cypher, and the script for the film was the first full-length

feature written by Brian King.

Linked with this is that Natali brought many people he had previously worked with, to also work

on Cypher. Although Natali is not the only director to do this, it could be assumed that the more

freedom he had regarding his choice of who to work with, the more artistic freedom he also had

with regard to the overall film.

Not only is Cypher the only film to date in which Natali has not had any contribution in the

writing, one of the biggest factors when looking at Natali’s artistic vision, however, is the fact that

Natali waited approximately 5 years after making Cube (Natali, 1997) before taking on another

project as director. Despite working on other films, such as Ginger Snaps (Fawcett, 2000), Natali

took great care in waiting for the right film and script to direct. Whilst many directors will have

the option to only work on scripts that they choose, it is rare for such a long break as this,

especially for a director of such limited experience, such as Natali. From this we can see that

Natali takes great care in the choices he makes as a filmmaker, to an extreme that is rarely, if ever

seen in mainstream ‘Hollywood’ filmmakers.

When watching Cypher, it is easy to see why Natali would have wanted to direct this film. It

contains several of the same themes and ideas as his other works, whilst giving him several more

ways of exploring these ideas, in contrast to Cube.

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Assignment 1: Essay
Ian Coomber

Despite being classed as an American film, Cypher also has many Canadian and British

influences. Whilst it is not uncommon for American films to be made in Canada, often for

budgetary reasons, the vast majority of the crew of Cypher are themselves Canadian, the cast is

fundamentally comprised of either Canadian or British actors, in which Lucy Liu is not only the

most recognisable, but also the only American actor in the film. Obviously this takes Cypher

further away from being classed as a Hollywood film, but despite the lack of big name stars, the

other actors are far from being ‘unknowns’.

By featuring many actors who are not so recognisable, Cypher accumulates two main benefits.

Not only do the actors bring less baggage from previous roles, or status as celebrities, but the

filmmakers have carefully judged, and chosen the actors for how much they have to offer their

respective roles and therefore the quality of the film as a whole, rather than trying to attract

audiences by having several big names associated with the film. It is clear to see that Northam is

not only much less of a star, and thereby less Hollywood than Schwarzenegger, Ford, and Cruise,

but also has the ability to play Sullivan, Thursby and Rooks as three separate identities.

One major difference from the majority of mainstream films is that as a film told from Morgan

Sullivan’s the point of view, he appears in every single scene of the film. Although Cypher is not

the only film to do this, the majority of films both mainstream and alternative would feature a

number of point of view characters throughout the film.

Although this is not the only film to have the lead in every scene, the biggest reason films do this

is, is because it is important to have the story told not just from their point of view, but also

through their eyes. Films such as Cypher are often ambivalent as to what is the true reality, as they
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Ian Coomber

often feature various twists and plot threads that do not explain all the relevant information until

the very end, or upon subsequent viewings. By having a scene without the lead character, the

audience would have to see reality through someone else’s eyes, and see it for what it really is,

rather than the ambivalence of seeing it through the unsure eyes of the protagonist. This can also

be seen in perhaps the most similar film to Cypher in terms of themes and style, eXistenZ

(Cronenberg, 1999).

Although it could be said that both films are similar, as they both stem from a Canadian and

British influenced way of filmmaking, the similarities between Cypher and eXistenZ go much

deeper. Both feature characters, Sullivan and Ted Pikul (Jude Law) who appear to be unwilling

pawns pulled through situations “with multiple levels of reality and embodiment” 6, until their

respective climactic twists reveal both characters were, to a large degree, responsible for the major

events of the film. Whilst not featuring different realities to the extent of eXistenZ, Sullivan’s

perception of his identity, and of the reality of the situation, is never constant.

The similarities of the two films also go beyond the basic premise of the narrative. Both set in an

unspecified time period, although presumably the near future, they use a rather minimalist style.

The majority of scenes in Cypher nearly always take place in different locations, but each location

is never excessive. They each have enough presence to convey what is needed to understand the

new setting, but by not being too elaborate or wasteful, they create a sense of repetition. Despite

being different locations, each is reminiscent of the last, and are merely variations of a theme. A

good example of this is the conventions. They take place in correspondingly spartan hotel

conference halls, where the convention speeches merely concern themselves with basic details
7
about basic products (manufactured cheese, etc), similar to the “bare wooden buildings” in

6
Hotchkiss, ‘ “Still In The Game” ’, 18
7
Costello, The Pocket Essential: David Cronenberg, 86.
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eXistenZ, where a revolutionary new game is being tested in the unusually simple venue of a

church hall.

Upon first viewing, Cypher is not the most alternative film ever made. It does contain many

features of Hollywood and mainstream films, but as we can see by looking through it with

subsequent viewings, we begin to notice features that are easy to overlook, but help to confirm the

films alternative status. As well as those that have been discussed, there are also many more,

including shooting styles, and the influence and subversion of previous spy thrillers, that could not

be included in a single essay. Through directing films that are different in style, but similar and in

approach and in terms of meaning, Natali is successful in creating films that are engaging, thought

provoking, and highly enjoyable not regardless of, but because they are highly alternative in

nature.
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Bibliography:

Works cited:

 Costello, John. Pocket Essentials Film: David Cronenberg. Harpenden: Pocket Essentials,
2000.
 Hotchkiss, Lia M., ‘ “Still In The Game”: Cybertransformations Of The “New Flesh” In
David Cronenberg’s eXistenZ’, The Velvet Light Trap, 52, Fall 2003, 15-32.
 King, Geoff, and Krzywinska, Tanya. Science Fiction Cinema: From Outerspace To
Cyberspace. London: Wallflower, 2000.
 Landsberg, Alison, ‘Prosthetic Memory: Total Recall and Blade Runner’, Liquid Metal:
The Science Fiction Film Reader, Sean Redmond (ed), London: Wallflower Press, 2004,
239-248.

Other research from:

 http://www.imdb.com/

 DVD Audio Commentary, Cypher, 2002.