Remakes Done Right- The Thing

Welcome to the penultimate chapter in my Remakes Done Right series, this time focusing on another remake of a classic 1950's sci-fi film. Again, this film is part remake, part adaptation, with both versions being based on John W. Campbell's novella Who Goes There? Yep, that's right, this post will focus on John Carpenter's  The Thing. The original film is another prime example of atom age science fiction, a creature feature about a group of scientists and servicemen facing off against a plant-based alien in the Arctic. Carpenter's remake however, is much more darker and the concept of the eponymous Thing remains much closer to that of the creature in the original novella. While they are both two very different adaptations, Carpenter's film is nonetheless considered a remake and over the next couple of minutes I will explain why it is a remake done right.

The Original

Based on Campbell's original novella, The Thing From Another World revolves around the discovery of a mysterious spacecraft in the Arctic and the strange events that follow. Like many of the sci-fi films from the 1950's, the film deals with the concept of science going too far and the idea that perhaps some things should simply be left alone. This was a recurring theme of atom age sci-fi in response to events such as the atomic bomb that led many to become skeptical of scientists and their abilities. These themes come across explicitly in The Thing From Another World, with the scientist Dr. Carrington (Robert Cornthwaite) portrayed as cunning, attempting to promote growth in the alien seed pods. Conversely, the Air Force members are portrayed as being more rational, with Captain Hendry (Kenneth Tobey) being the one to lay the trap from the Thing. While it did differ a lot from the source material, The Thing From Another World has gone down as one of the greatest sci-fi films of the 1950's, praised for its pacing and memorable characters. However, by the time the 1980's came around there had been immense advances in special effects and filmmaking technology which left windows open to remake a number of classic sci-fi films, including this one...

The Remake

John Carpenter had arguably been teasing The Thing since back in 1978, when young Tommy Wallace curls up on his sofa to watch the original film in Halloween. However, it was not until 1982 that Carpenter's version would finally come to surface. Based on a screen play by Bill Lancaster (son of Burt, believe it or not), The Thing marks Carpenter's third collaboration with Kurt Russell, the first being Escape From New York and the second being Elvis. The film was shot in British Columbia in Canada and the Arctic conditions were achieved by shooting in the winter, in freezing conditions. The film stuck closer to the original novella than The Thing From Another World, with the creature assimilating and imitating its victims as opposed to simply draining them of their blood. The character names such as Dr. Copper and McReady are also taken from Campbell's novella. With outstanding special effects courtesy of Rob Bottin, his team, and contribution from Stan Winston, the titular creature was brought to life in all of its horrifying glory. A fantastic score was also composed by veteran, Ennio Morricone, combined with Carpenter's talent for building suspense to create a thrilling and terrifying sci-fi film.

What it Does Right

One word comes to mind in particular when talking about what The Thing does right, paranoia. Yes, throughout the film there is this constant atmosphere of paranoia that is carefully crafted through a combination of John Carpenter's direction and Ennio Morricone's score. As the Thing assimilates and perfectly imitates its victims, there is this constant questioning of who's human and who is not, because of this the research crew are constantly on edge and wary of each other. One scene in particular highlights Carpenter's talent for building dread, this of course, is the blood test scene. At one point in the film, MacReady (Kurt Russell) decides to test the blood samples of each crew member in order to determine which one is an imitation. The scene is incredibly tense, with a minimal use of score and a steady pace, we are left waiting in anticipation to discover who exactly is not human. Even before that is revealed, there is this unmistakable sense of paranoia throughout as virtually anybody could be an imitation, it has become an iconic scene in horror cinema and has influenced countless other filmmakers including Quentin Tarantino, who took a number of pages from Carpenter's book in last years The Hateful Eight. This scene is a prime example of that sense of dread that carries on throughout the duration of the film.

Another of the films greatest assets and one of the aspects that it is most well known for, is its special effects. There are a number of times throughout the film where the Thing reveals itself and transforms from human back to monster. These were all achieved through spectacular practical effects courtesy of Rob Bottin and his crew, who brought to life some truly grotesque creation such as the transformed Palmer and the iconic spider-head. They are some truly original designs that have gone down in history as some of the greatest creature designs in the history of the horror genre. However, one of the films most horrific creatures owes itself to Stan Winston, the special-effects creator who would go on to work on future films such as The Terminator and Aliens. What I'm talking about is the nightmare inducing dog-thing that appears early on in the film. The Thing initially infiltrates the Arctic base in the form of a seemingly innocent sleigh dog, the dog is then taken in by the sympathetic researchers and chaos ensues. Assimilating a number of other dogs, the Thing becomes this grotesque mass of flesh, sinew, and deformed canine, a disturbing sight no doubt, but a memorable one. This is the first time The Thing reveals itself onscreen and it sets the tone for the chaotic and terrifying events that followed.

One of the films boldest decisions by far however, is its ending. Both the novella and the original film end with the protagonists overcoming the Thing and making their way back to society peacefully. However, Carpenter's version has a much more bleak ending that keeps in tone with the films dark nature. After burning the base to the ground with the Thing inside, MacReady and Childs (Keith David) sit and watch the facility burn to the ground, both exhausted. As the two share a bottle of scotch and watch the flames get higher, there is this strange sense of uncertainty and we are left to wonder whether or not either of them was the Thing. Apparently a happy ending was actually shot, with MacReady taken to safety and confirmed to be completely human, however Carpenter felt that the more nihilistic ending suited the film much more. To me, this is a much more effective and thought-provoking ending, leaving viewers with a number of burning questions to reflect upon after the credits roll. It keeps in line with that constant sense of hopelessness throughout the film and makes for a much more interesting way to end it. Having a happy ending where everything is resolved would just seem out of place in this film.

John Carpenter's The Thing is a much darker, much more interesting take on Who Goes There? While The Thing From Another World is without a doubt equally iconic in its own respects, Carpenter's version updates the story for a more mature audience. Gruesome, thrilling, and packed to the brim with suspense, The Thing is one of the most important horror films of the 1980's and one of Carpenter's greatest achievements. With fantastic performances, mind-blowing practical effects, and a combination of the score and direction, the film is a wonderfully crafted film that will leave you on the edge of your seat even after the credits have rolled. It is because of this that The Thing is a remake done right.