Isolation, paranoia, and mistrust. Toss in a carnivorous shapeshifting alien and you have the basis for terror in John Carpenter’s 1982 classic “The Thing.” Based off a 1938 short story and adapted from an early ’50s monster flick—the latter of which Carpenter paid homage to in his eponymous “Halloween,” “The Thing” is a successful, if not brilliant iconic film in both the horror and science fiction genre.
The setting alone identifies the bleakness and ominous tones of the story: a crew of researchers at a comfort-devoid facility ensconced amidst glaciers in the throat of Antarctica. Nature provides itself a cold and dark landscape, and signs of cabin fever are present right from the unusual opening scene depicting a helicopter chasing an Alaskan Malamute across the tundra, with a gunman firing at the fleeing pooch. As one characters comically quips, its only first goddam week of winter.
Paranoia strikes deep in “The Thing”
Kurt Russell and John Carpenter have a close relationship throughout the decades, and here had just come off their first pairing in “Escape from New York.” Russell stars as MacReady, and while the rest of the fictitious crew are an interchangeable ensemble of men each possessing a specific skill, MacReady’s specialty is simply being cool. Russell is brilliant in the performance, which is fairly modest with dialogue and action but thoroughly detailed with emotion. The supporting cast is excellent and features some solid names like Keith David, Donald Moffat, and the great Wilford Brimley. The paranoia gradually sets in on each of the characters as the story progresses, and by the end, no one feels safe trusting anyone, including themselves.
The setting itself adds another character. The beautiful and vast landscapes of Antarctica are on display courtesy of cinematographer Dean Cundey and the filming locale of Juneau, Alaska. The cold and isolation of U.S. Science Institute Outpost 31 feels oppressive, and it works marvelously at setting the stakes of survival for all those at play. The score is subtle perfection—not as iconic as “Jaws” or “Halloween,” but equally disturbing in its capabilities of putting the viewer in a tense mood. I also loved the special effects and am eternally thankful that the horror scenes weren’t ruined by CGI. The end result of early ’80s props and a hardworking team of costume and makeup artists leaves us with unforgettable horror scenes and imagery.
Captivating special effects that you’ll remember long after watching
“The Thing” has a theme that’s as relevant today with the current pandemic as it was in 1982 and the onset of AIDS. I was immediately reminded of ‘The Monsters are Due on Maple Street’ a classic episode of “The Twilight Zone” that even if you don’t know it, you know it. There are no women at all and that’s easily accepted once we glimpse the situation. Interesting note: “The Thing” is regularly viewed by members of the winter crew at the Amundsen-Scott South Pole Station after the last flight departs leaving them alone (usually in a double feature with “The Shining“).
“The Thing” is an excellent movie, working well as a thrilling piece of suspense as a straight out horror film. Unlike many other movies in the genre, it’s well written and equally well filmed. It’s groundbreaking with its premise and setting, and a viewing pairs well with a cold winter’s night.
