As certain factions speculate that the world is headed toward a new Cold War, Mark Farnsworth examines the artistic legacy of this phenomenon.
“The Thing” is the darkest film in the Kurt Russell trilogy of Carpenter’s science fiction films and the beginning of his “Apocalypse” cycle. It is a master class of pessimism nearly unrivalled in cinema and a bleak critique on the nature of humanity itself, inspired by the Reagan administration, Carpenter’s first foray into studio film making, and the escalation of the arms race with the Soviet Union.
The plot is more closely related to John W. Campbell’s novella; “Who Goes There?” than the earlier Hawks production of “The Thing from another World.” Special effects allow the shape-shifting alien to be realised in all its bloody glory, which in turn gives Carpenter the freedom to develop a claustrophobic atmosphere of mistrust, fear, and growing nihilism.
In the earlier movie the scientists and soldiers work together to destroy the visible threat of the thing, as they would do with communism. There is a unity mostly derived from the fact that they are white and embody a people fresh from the moral victory in WW2. America in the 1950s was still perceived as the ‘good guys’, the ‘land of the free and the home of the brave’.
With Carpenter’s creature everyone could be the thing and, as a consequence, an enemy. Read More
