In Jonathan Glazer’s thought-provoking sci-fi drama, Under the Skin (2013), realism and surrealism fuse together to create a metaphysical representation of identity and captivity. The film, loosely based on Michel Faber’s novel of the same name, follows an extraterrestrial creature that uses the form of a human woman to prey on the unsuspecting men she meets on the streets of Scotland. By combining aspects of displacement and fear of “the other,” Glazer’s depiction of a female alien’s journey of self-discovery and exploitation raises questions about vulnerability, morality, and what it means to be human. Through the striking similarity to several themes present in the Weird fiction genre, which we explored throughout the course, Glazer is able to explore the alien’s experience with human existence beyond the physical—presenting a commentary on the perception of consequences, free will, and identity through the distorted perspective of an otherworldly entity.
One of the primary motifs in Under the Skin is displacement. The alien protagonist’s unfamiliarity with Earth’s environment, customs, and language mirrors the feelings of loneliness and instability described in Shirley Jackson’s short story “The Summer People.” In both works, the subject is isolated among the wrong group of people and must struggle to find a sense of belonging. However, the alien’s purpose in Glazer’s work is considerably more sinister than the elderly couple’s mission in Jackson’s—the alien lures unsuspecting men into her dark domain with promises of sensual pleasures before trapping them within slimy and grotesque confines. The alien has no understanding of the consequences of her actions and is able to escape them due to her otherworldliness, much like in Richard Matheson’s “Strange Survival in ‘It’s a Good Life.'” In Matheson’s story, the protagonist takes advantage of his power to act with impunity, an attitude that the alien also adopts over the course of her journey. The protagonist in Matheson’s story and the alien both use transgressions as a form of escape. Yet, the alien’s journey forces her to confront the idea of consequences and ethics—questions notably absent in Matheson’s work.
The portrayal of an otherworldly creature, who is conscious and aware yet not of the same species as their prey, is also heavily explored in George R.R. Martin’s “Sandkings.” In both works, the aliens are largely unaware of their boundaries as monsters and creators, seeking to understand the world as they move through it. This lack of understanding brings about a stark contrast between their morality and that of their human counterparts—the aliens in both stories are much more creatures of instinct and driven by a desire for survival rather than seeking out justice or retribution. Under the Skin focuses on the alien’s instinctual drive to prey on unsuspecting men, trapping them in her lair and disregarding the consequences of her actions. While the alien in Martin’s work intends to make a companion, the alien in Under the Skin has an agenda to use men for her own benefit without the desire for companionship or retribution.
In Glazer’s movie, the alien discovers that her human form is vulnerable and must use her otherworldly alter ego to escape problematic situations. This is similar to Maurice Spellman’s short story, “Far Below,” in which military members are sent on missions to explore the depths of subway tunnels and avoid or destroy monstrous creatures they find inhabiting them. Similarly, the alien in Under the Skin must use her alien form to protect herself. Still, the storyline follows her journey to understand her identity and purpose as she tries to survive. While the crew in Spellman’s work are trying to rid the city of monsters, in Glazer’s work, the alien must use her monster form to stay alive.
In conclusion, under the Skin is a visual tour de force that combines science fiction and horror tropes to explore the notion of identity and consequence from a new perspective. Glazer expertly carves the journey of the alien exploring our world, raising questions about morality and consequence in a world that doesn’t seem to possess such concepts. By drawing connections between Under the Skin and the Weird fiction genre, Glazer’s thought-provoking film is able to explore themes of displacement, immortality, and struggle with the consequence in ways that resonate with readers and viewers alike.
Works Cited:
Faber, Michel. Under the Skin. Harper Collins, 2001.
Glazer, Jonathan. Under the Skin. A24, 2014.
Jackson, Shirley. “The Summer People.” The Lottery and Other Stories, Farrar, Straus and Giroux, 1991, pp. 139-153.
Bixby, Jerome. “Strange Survival in ‘It’s a Good Life.’” The Twilight Zone Magazine, 1983.
Martin, George R. R. “Sandkings.” Omni, 1979.
Speller, Maurice. “Far Below.” The Weird: A Compendium of Strange and Dark Stories, edited by Jeff Vandermeer and Ann Vandmeer, Tor, 2011, pp. 879-886.
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