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An extra-terrestrial alien, capable of replicating any living form it touches, infiltrates an isolated research base in the Antarctic, and sows suspicion and terror among the men trapped there. Which of them is still human, and which a perfect alien facsimile? John Carpenter's The Thing, the second adaptation of John W. Campbell's 1938 novella Who Goes There?, received overwhelmingly negative reviews on its release in 1982, but has since been acknowledged as a classic fusion of the science fiction and horror genres. Now a regular fixture in lists of the greatest movies of all time, it is acclaimed for its inspired and still shocking practical special effects, its deftly sketched characters brought to life by a superb cast, elegant widescreen cinematography, ominous score, and a uniquely tense narrative packed with appropriately ever-changing metaphors about the human condition.Anne Billson's elegant and trenchant study, first published in 1997, was one of the first publications to give the film its due as a modern classic, hailing it as a landmark movie that brilliantly redefined horror and science fiction conventions, and combined them with sly humour, Lewis Carroll logic and disturbingly prescient metaphors for many of the sociopolitical, scientific and medical upheavals of the past three decades. In her foreword to this new edition, Anne Billson reflects upon The Thing's changing fortunes in the years since its release, its influence on film-makers including Tarantino and del Toro, and its topicality in an era of melting ice caps and with humanity besieged by a deadly organism.… (plus d'informations)
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As part of the BFI Modern Classics series, film reviewer and novelist Anne Billson dissects (an apt description considering the source material) John Carpenter's The Thing. As Billson points out early on, The Thing is one of those films that was a financial and critical failure when released, but is now considered a landmark in horror/sci-fi cinema and an unrivaled masterpiece. It's only fitting that it receives the film historian treatment.
In a departure from some of the more academic entries into the BFI series, Billson essentially walks the reader through the film from beginning to end, describing what is happening on the screen as it occurs, and pausing to introduce historical context or critical analysis where appropriate along the way. In a way, this format results in an unintentionally dismissive presentation that feels as if we are watching the movie while someone (Billson) talks over it. Then again, it is a welcome change of pace from some of the more overly clinical BFI books crammed full of frame-by-frame screenshots and charts tallying camera angles. One could argue that treating The Thing in this fashion implies that genre films shouldn't be taken seriously, but one could also argue that this is how genre fans take their films seriously. The important thing is that it works.
Billson is obviously a fan of both the film and the genre, and her insights are both genuine and intriguing. One of her more interesting approaches is the idea of the titular Thing as the sole female character of the films otherwise sausage-fest cast, and while some in the men's rights movement might take offense to Billson's allusions to fragile male egos and castration metaphors, but those secure in their manhood will have no problem with her Freudian analysis. The Thing is a film intentionally designed to invite interpretations, and Billson provides the reader with much to think about.
The Thing is a film with multiple origins, including the original sci-fi film The Thing From Another World and the novella it was based on, Who Goes There?, and Billson discusses not only those influences, but the influences that The Thing has had since it's release, including comic book spin-offs thematic overlaps in future films. I was personally gratified that this resulted in her referencing the British sci-fi series Red Dwarf, not once, but twice.
Overall, this is a great entry into the BFI series, and a worthy tribute to Carpenter's legend that fans of the film (and genre films) will appreciate and enjoy. ( )
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An extra-terrestrial alien, capable of replicating any living form it touches, infiltrates an isolated research base in the Antarctic, and sows suspicion and terror among the men trapped there. Which of them is still human, and which a perfect alien facsimile? John Carpenter's The Thing, the second adaptation of John W. Campbell's 1938 novella Who Goes There?, received overwhelmingly negative reviews on its release in 1982, but has since been acknowledged as a classic fusion of the science fiction and horror genres. Now a regular fixture in lists of the greatest movies of all time, it is acclaimed for its inspired and still shocking practical special effects, its deftly sketched characters brought to life by a superb cast, elegant widescreen cinematography, ominous score, and a uniquely tense narrative packed with appropriately ever-changing metaphors about the human condition.Anne Billson's elegant and trenchant study, first published in 1997, was one of the first publications to give the film its due as a modern classic, hailing it as a landmark movie that brilliantly redefined horror and science fiction conventions, and combined them with sly humour, Lewis Carroll logic and disturbingly prescient metaphors for many of the sociopolitical, scientific and medical upheavals of the past three decades. In her foreword to this new edition, Anne Billson reflects upon The Thing's changing fortunes in the years since its release, its influence on film-makers including Tarantino and del Toro, and its topicality in an era of melting ice caps and with humanity besieged by a deadly organism.
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In a departure from some of the more academic entries into the BFI series, Billson essentially walks the reader through the film from beginning to end, describing what is happening on the screen as it occurs, and pausing to introduce historical context or critical analysis where appropriate along the way. In a way, this format results in an unintentionally dismissive presentation that feels as if we are watching the movie while someone (Billson) talks over it. Then again, it is a welcome change of pace from some of the more overly clinical BFI books crammed full of frame-by-frame screenshots and charts tallying camera angles. One could argue that treating The Thing in this fashion implies that genre films shouldn't be taken seriously, but one could also argue that this is how genre fans take their films seriously. The important thing is that it works.
Billson is obviously a fan of both the film and the genre, and her insights are both genuine and intriguing. One of her more interesting approaches is the idea of the titular Thing as the sole female character of the films otherwise sausage-fest cast, and while some in the men's rights movement might take offense to Billson's allusions to fragile male egos and castration metaphors, but those secure in their manhood will have no problem with her Freudian analysis. The Thing is a film intentionally designed to invite interpretations, and Billson provides the reader with much to think about.
The Thing is a film with multiple origins, including the original sci-fi film The Thing From Another World and the novella it was based on, Who Goes There?, and Billson discusses not only those influences, but the influences that The Thing has had since it's release, including comic book spin-offs thematic overlaps in future films. I was personally gratified that this resulted in her referencing the British sci-fi series Red Dwarf, not once, but twice.
Overall, this is a great entry into the BFI series, and a worthy tribute to Carpenter's legend that fans of the film (and genre films) will appreciate and enjoy. (