The Thing

U.S.A. / 1982 Directed by John Carpenter Starring Kurt Russell Wilford Brimley Keith David Color / 109 Minutes / R Format: DVD / R1 - NTSC Universal Studios

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10     10   10 = Highest Rating   Film Review by Troy Howarth • DVD Review by Brian Lindsey

An arctic research team is menaced by an alien presence capable of imitating other life forms...     There can be no overstating the negative impact that this high-tech remake (more properly, a more faithful adaptation of the John W. Campbell story, Who Goes There?) of the beloved Howard Hawks' monster flick The Thing From Another World (1951) had on the career of director John Carpenter. Having scored a major hit early on with Halloween (1978), the gifted filmmaker channeled his love of B horror and action flicks into a string of successful low budget films that included The Fog (1979) and Escape From New York (1981). While neither picture matched the phenomenal success of Halloween, they nonetheless proved that Carpenter was a director of note within his chosen genre. Inevitably, it was a only a matter of time before the "big boys" came a-knockin'. Having already rejected a treatment by Texas Chain Saw Massacre auteur Tobe Hooper, the executives at Universal approached Carpenter with an offer to helm their remake of The Thing. A major fan of the original, Carpenter was only too eager to accept, but he knew that in order for the film to work for modern audiences, it would require a major rethinking. Thus, with screenwriter Bill Lancaster (son of Hollywood legend Burt Lancaster), they revisited the story that inspired the Hawks film originally and created what can truly be termed one of the great modern horror films. Alas, recognition of their achievement was not immediately forthcoming. Released the same summer as Spielberg's warm and cuddly sci-fi drama ET: The Extra-Terrestrial, it opened to blistering reviews and poor box office. Carpenter's career has never really been the same since, and he has often stated in interviews that the film's failure soured his outlook on the filmmaking process.     Critics of the film have often complained that the film is overwhelmed by Rob Bottin's (admittedly brilliant) special effects, that the characters are too foul-mouthed and unsympathetic, and that the open-ended and nihilistic finale fails to provide a satisfactory resolve. While it is true that, on initial viewing, Bottin's effects do tend to overwhelm the other aspects of the movie, repeat viewings are essential in really appreciating the sense of melancholy gloom and claustrophobia that Carpenter is able to sustain throughout; the stellar work of cinematographer Dean Cundey and composer Ennio Morricone also deserves special praise in the way it perfectly complements Carpenter's icy (literally and figuratively) vision. It is also true that the characters are a foul-mouthed lot, but this in itself hardly makes them unsympathetic. Rather, they seem to be reacting very credibly to the irritation of being lumped in with each other for a long period of time, coupled with the added stress of a monster on the loose. While the actors don't aim to pull for the heartstrings in order to make their characters lovable, it is easy to identify and sympathize with them. In this regard, Carpenter is well served by a terrific ensemble, headed by his favorite leading man, Kurt Russell.     Having already played Elvis in the director's mini-series of the same name, as well as the ultra-cool anti-hero Snake Plissken in Escape From New York, here Russell brings a sense of humor and practicality to the role of the group's pilot, MacReady. The excellent supporting cast includes good roles for the likes of Wilford Brimley, Richard Dysart, T.K. Carter, Richard Masur and Keith David, who later reteamed with Carpenter on the sci-fi satire They Live (1988). As to the issue of the ending, while it is undeniably grim and refuses to offer a "big resolve" that might make audiences more satisfied, it is precisely its downbeat and abstract nature that adds to the movie's fascination. Without wanting to give too much away, it also leaves itself open to a potential sequel which, in the right hands (hey, Carpenter hasn't made a film in a few years — you listenin', John?), has the potential to be quite effective.     Ultimately, the biggest irony of all is that The Thing is, in this writer's estimation, the finest film John Carpenter has ever made. As a study in paranoia, it's absolutely riveting. As a special effects freak show, it is literally without peer. And as a good old-fashioned "chair lifter," it contains scenes that can make one jump even on the 100th viewing (I know I still do during the blood testing sequence). Yet, its failure derailed a promising career that in some respects hasn't come entirely into fruition. Often content to churn out B-movie fodder in a slickly professional manner, Carpenter also occasionally invests himself in more intellectually stimulating projects (Prince Of Darkness, They Live, In The Mouth Of Madness) but always on a relatively small scale. One can only imagine where his career may have gone if The Thing hadn't tanked, but ultimately what's most important is that the film stands tall as a testimony to his gifts as a filmmaker and storyteller. - T.H.

Universal issued a second "Collector's Edition" DVD of The Thing, with different packaging and cover art, in October 2004 as its first incarnation went OOP. This new edition features an improved, color-corrected anamorphic (2.35:1) transfer and contains the same extras as the first disc, only minus the isolated music score. There are certainly no bones to pick concerning audio/visual quality as both are excellent. (Those so equipped might lament the lack of a DTS audio option but the Dolby 5.1 track offered is terrific.)     The disc is loaded with goodies sure to satisfy any fan's Thing jones, well beyond the customary talent bios, theatrical trailer and TV spots. Production "archives", detailing the film's background, location design and post-production process, are illustrated via numerous photographs and brief text pieces; an art/storyboard section and two short reels on specific FX sequences (The Saucer, The Blairmonster) further illuminate the technical side. A selection of outtake footage showcases brief scenes cut from the final film.     Tying these elements neatly together are the disc's two best features: "John Carpenter's The Thing: Terror Takes Shape", an 80-minute documentary on the making of the film, and an audio commentary by John Carpenter and Kurt Russell. Both are fantastic. The doc, with the participation of Carpenter and most of the principal actors and technicians, tells you just about everything you'd ever want to know about the film's concept and production. If you think this might render the audio commentary moot, well, think again. The track (originally recorded in 1995) has Carpenter doing a scene-specific play-by-play, embellishing his comments with thoughts on the story structure and how various shots were achieved, while his friend Russell frequently pipes in with amusing anecdotes and asides. Both men are justifiably proud of the film and obviously had a good time watching it together. - B.L. 1/27/05

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