The Thing (1982) – Review

In 1951, producer Howard Hawks and director Christian Nyby adapted John W. Campbell Jr.’s novella Who Goes There? into the science fiction classic The Thing from Another World, unfortunately, practical and visual effects of the time were not able to pull off the shapeshifting alien monstrosity from Campell’s story and this resulted in James Arness dressing up standard monster make-up. Flash forward to 1982 and the world was treated to an adaptation that would bring the horror of Campbell’s novella viscerally to life.

As was the case in the original story and 1951 adaptation, this remake is set in the desolate Antarctic landscape but it opens with a Norwegian research team pursuing a dog across the icy tundra. The dog finds its way to an American research station, Outpost 31, and the Norwegians, in their frantic attempts to kill it, accidentally trigger a series of events that set the stage for a nightmare of horror and paranoia. The American crew at Outpost 31, led by helicopter pilot R.J. MacReady (Kurt Russell), takes in the seemingly harmless dog and is puzzled by the violent actions of the Norwegian researchers. MacReady and the crew’s doctor, Dr. Copper (Richard Dysart), decide to visit the Norwegian camp to uncover the truth. There, they discover a horrific scene of death and destruction, along with a mysterious alien spacecraft buried in the ice.

Did Han Solo crash the Millennium Falcon here?

Back at their station, the crew begins to unravel a terrifying secret. The alien organism that was aboard that craft is capable of mimicking any living being it comes into contact with and is now loose among them. Paranoia and distrust mount as they realize that any one of them, or even the dog, could be the Thing. As they struggle to survive, the group becomes increasingly isolated and paranoid, and the tension builds to a breaking point. It’s here where Carpenter explores themes of identity, trust, and the fragility of the human psyche in the face of an unimaginable threat. The story becomes a battle for survival not just against a deadly extraterrestrial creature but also against the disintegration of the group’s cohesion. Blair (Wilfred Brimley), the senior biologist, grows paranoid after running a computer simulation that indicates the creature could assimilate all life on Earth in a matter of years, and his steps to end the threat lead to an even greater sense of isolation and paranoia.

“Guys, start writing your wills, we’re all fucked.”

With no means of communication or escape and the relentless snowstorm outside, the crew must confront their worst fears, leading to a series of gruesome and suspenseful confrontations with the alien organism. The film keeps us on the edge of our seats as it leads to a nerve-wracking and unforgettable climax where no one can be trusted, and the fate of humanity hangs in the balance. Carpenter builds relentless tension that is driven by the fear that any one of these men could be an imposter, creating a palpable sense of dread that rarely lets up. Childs, (Kieth David), the outpost’s chief mechanic makes some brutal pragmatic observations while his dope-smoking assistant Palmer (David Clennon) has a more free-formed process, and Palmer’s observation of “You gotta be fuckin’ kidding” when the head of Norris (Charles Hallahan), the team’s geologist, detaches and grows spider legs perfectly captures the attitude many viewers will be having at this point.

You have to admit, that is a pretty fair response to this.

As the plot unfolds the ensuing atmosphere of paranoia and mistrust becomes palpable and Carpenter expertly crafts an environment where no one is truly safe. As one after another, they are taken out by this otherworldly monster. It is this element that brings the aspect of a “And Then There Were None” Agatha Christie mystery to the proceedings as the cast of characters is whittled down one by one over the film’s 109 minutes. Of course, the real mystery comes from the film’s ambiguous ending, which has been a subject of debate and discussion among fans for decades. This open-ended conclusion adds to the film’s enduring appeal, as it invites viewers to ponder the fate of the remaining characters. John Carpenter’s remake is more than just a terrifying monster movie; it’s a profound exploration of human nature under extreme pressure one that film delves into themes of identity, trust, and the thin veneer of civilization when confronted with unimaginable horror. It raises essential questions about the human condition and our inherent fear of the unknown.

Also, what you find in the ice, leave in the ice.

Stray Observations:

• Unlike the 1951 adaptation, there are no females running around John Carpenter’s The Thing, that said, there is one female presence in the film, that of Carpenter’s then-wife Adriene Barbeau who voices the chess computer that MacCready loses to.
• When the creature is seen absorbing several of the station dogs part of it splits off and goes up through the roof of the kennel, in clear view of everyone watching, but no one seems concerned that part of the alien monster is loose and still running around.
• Flamethrowers would be useless in Antarctica, especially outside, gasoline has too high a freezing temperature to be forced out of a tank without solidifying.
• Even though the group is told that the alien organism is highly infective they don’t seem all that concerned about sharing the same knife to get their blood samples.
• The film does not explain the purpose of the American team in Antarctica but as the Antarctica Treaty dictates that Antarctica must only be used for peaceful and/or scientific the profusion of pistols, shotguns, automatic weapons flamethrowers and explosives is entirely ridiculous for an Antarctic research facility.

The treaty clearly needs to be updated to cover alien threats.

The film’s strength lies in its practical effects and creature design, which remain astonishingly effective even by today’s standards. The grotesque transformations and otherworldly horrors are both visceral and nightmarish, thanks to the brilliant work of makeup and special effects artist Rob Bottin. The imagery created in The Thing is unforgettable, and it’s a testament to the craftsmanship and creativity of the production team. Carpenter’s direction is impeccable, building an atmosphere of claustrophobia and impending doom within the research station while Ennio Morricone’s haunting, minimalist score adds to the overall sense of unease. The combination of Carpenter’s minimalist yet effective direction and Morricone’s unsettling music contributes significantly to the film’s enduring legacy. Not to be left out is Dean Cundey’s cinematography which captures the bleak Antarctic setting in all its frigid, isolated glory. The use of wide, snow-covered landscapes against the claustrophobic interiors of the research station creates an eerie sense of both isolation and desolation.

When paranoia is a good thing.

While Carpenter’s adaptation is most famous for Rob Bottin’s practical effects without its impeccable cast this would not be the classic it turned out to be. All of the actors give strong performances, with Kurt Russell’s portrayal of R.J. MacReady being a tour de force. His grizzled, every-man persona serves as an anchor amidst the chaos, and his performance remains one of the standout elements of the film. But he’s not alone, the ensemble cast of great character actors effectively portray the growing mistrust and terror that grips them as they confront the shape-shifting horror in their midst, there is not a single miss-step in the bunch, from Wilfred Brimley’s descent into madness to Donald Moffat’s exasperated station commander “I know you gentlemen have been through a lot, but when you find the time, I’d rather not spend the rest of this winter TIED TO THIS FUCKING COUCH!” Basically, with this great script and collection of amazing actors, this film was destined for greatness.

I miss being a Disney kid.

Unfortunately, the road to greatness was a rocky one as the film received a broad selection of negative reviews upon its release with comments from critics ranging from “instant junk” to “wretched excess” and while most reviews of the actors’ performances were generally positive the film’s special effects were simultaneously lauded and lambasted for being technically brilliant but visually repulsive and excessive. Variety called it “the most vividly gruesome horror film to ever stalk the screens” while others called it more disgusting than frightening. This proves the age-old adage that, you can’t please everyone. One of the biggest stumbling blocks of this film’s release was that it was up against Steven Spielberg’s E.T. The Extraterrestrial which gave the world a more optimistic take on an alien encounter as opposed to Carpenter’s more nihilistic approach.

This thing doesn’t give a crap about Reese’s Pieces.

In conclusion, John Carpenter’s The Thing is a masterclass in suspense and horror, from its timeless practical effects to its chilling atmosphere this movie has become a cornerstone of the genre and cemented itself as one of the best remakes of all time. I’d like to end this review with a quote from the great Richard Masur, which I think sums up this movie pretty well, “I dunno what the hell’s in there, but it’s weird and pissed off, whatever it is.”