11. The Thing - Dir. John Carpenter
Four things I like about The Thing:
1. The screenplay and narrative
A great film needs a great screenplay, and the screenplay for The Thing is remarkable. Had this film not been a genre piece, I believe the screenplay would be considered one of the greatest ever written by film buffs and scholarly types alike. As it stands, it still is one of the greatest ever written, and the narrative contained within just so happens to be a great work of genre fiction. The plot builds in tension with deliberate slowness, and the isolation and sense of dread are palpable. The monster-reveals and plot points hit perfectly each and every time. The Thing is an exercise in impeccable timing.
Bill Lancaster wrote the screenplay, and I find this anomalous to say the least. Up until writing The Thing, Lancaster's claim to fame was the writer for the Bad New Bears films and television series, and that's it! How he composed and executed an A-class genre script such as this one is a bit baffling, but the work he did is exemplary. The dialog sounds natural, and the characters are more than three-dimensional, they feel reel. Lancaster's master class script showcases a group of guys who are more than friends, and more than comrades - they are like brothers, and their complex relationship enjoys the positive and negative aspects of such a bond.
2. The cast
Robert Altman always gets praise for his ensemble casts, and the cast in The Thing is just as good as any of Altman's. Because they were given such a strong script to work with, the actors (all men, no woman in this one, except for a female computer voice) deliver some of the best performances of their careers. Each of the main characters acts, and reacts to the outlandish situations thrown at them naturally. Although the narrative incorporates totally fantastic ideas, it does not require much suspension of disbelief because of the amazing performances.
The three standout performances are given by Kurt Russell (MacReady), Keith David (Childs) and Wilford Brimley (Blair), and their characters are surrounded by a plethora of awesome supporting characters, such as: Windows, Fuchs, Clark and Nauls to name a few. With such a large cast of characters, one might think it would be easy to lose track of certain players, or that the majority of the characters are nothing but cannon fodder, ready to be lead to the slaughter. Such is not the case, and as each meets his eventual demise, it affects the other characters and the audience.
3. The direction and photography
John Carpenter (director) and Dean Cundey (director of photography) are a match made in heaven. Having worked together on Halloween, Escape From New York and The Fog before hand, the two craftsmen worked in symbiotic-like fashion on The Thing. They drew on their extensive professional relationship, and each of their strengths helped to bolter the other. The way Carpenter directs the large ensemble cast is masterful, and the photography of the snow-covered landscape and confined halls of the outpost builds the necessary tension and atmosphere. Carpenter and Cundey never once lose sight of a character or his motivations, and as the paranoia level builds, and the tension threatens to violently erupt, they hold on tight to the reigns to keep everything in order, controlling the game like master strategists.
4. The effects and creature design
When I think of the term "special effects," The Thing is the first movie that pops into my head. No matter how many times I have seen the film, I will never forget the first, and how the artistic design engaged me like no other. From the transforming dog-like beast, to the melted fleshy and twisted remains of alien leftovers, from the head with the spider-like legs, to the stomach-mouth, and from the hideous Blair monster, to the epic final conflict, every f/x shot in the film is full of weight and gravitas. Because the film was made before the extensive use of CGI and digital sets, the effects used on the film feel real, as the cast and crew can physically manipulate them.
In addition to the creature effects, the set design and matt paintings used on the film are incredible. The detail of the science lab outpost is extraordinary. Each room and hall is littered with details, and the lighting makes the sets come to life. There are papers scattered about, notes taped to walls, scientific instruments set on tables, food stocked in the kitchen, and the storage shelves full of knickknacks. The set feels lived in, and not that it was made and used for only a short period of time.
One more thing about The Thing
Yes, John Carpenter's The Thing is truly a landmark film, and an A-class example of craftsmanship. It is also a product of its time. Coming off of the glorious films of the 1970s, a time when a director with a vision was given the time, money and freedom to execute his vision, The Thing was made with the utmost attention paid to each and every detail. In the documentary on the DVD, Carpenter says that this production schedule on the film was the longest he had ever been given, and this allotted time shows in the completed project. Nothing feels forced, and no corners were cut. The Thing is as close to a perfect genre film as any before it or after it. And even today, 24 years later, the film continues to impress and is still a measure of greatness.
