I was a big horror fan growing up, but I've never understood the hype for this one. I must have seen it six times in my life, but every time I watch it, it seemingly-evaporates from my head as soon as it finishes. I know it has big effects set pieces, but I can't tell you what they are, and I used to study special effects to figure out how things were done.
I saw 'The Burning' once over 30 years ago. It was terrible, but I can remember the Raft Massacre scene. I can remember the staking in 'Martin'; the drill through the head in 'The Gates Of Hell'; the whole business with the axe near the end of 'Tenebrae', (which I still remember including one of the best genuinely-earned framing jump scares I've ever seen); the zombie eating the shark in 'Zombi 2'; the bums playing keepaway with a dick in 'Street Trash'; and the brain-eating via blowjob in 'Brain Damage'.
Hell, I even remember 'So I Married A Vampire' - a film so obscure it's not not even on Wikipedia - where the dumbest lead character I've ever seen gets taken advantage of by a succession of obviously bad men due to her gullibility, ('They're just art pictures', 'My mother needs money for a kidney', 'They're only clove cigarettes' etc), then goes to view a room for rent, meets the pale brother and sister who own the palace, who then tell her to mind the broken mirror in the hallway, which results in her suddenly developing a preternatural level of understanding when she's been functionally-retarded for the rest of the film.
I even remember what she said. (The jaw-dropping awful brilliance of which is best understood if you visualise someone prodding her with a stick off camera before she delivers it like she's reading Today's Specials).
"Broken mirrors? Blood tranfusions? These guys must be vampires. I'd better get out of here!"
But 'The Thing?' I've got nothing besides two guys sitting in the snow,
and I watched it with a mate last year, when he chose it, being on a Carpenter kick.
Look, I even remember this, which makes me laugh, not because I remember 'The Thing', but I damn well remember 'Pingu':
Weird hey?
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I have this theory Horror works best when the setup is familiar enough to the audience to imagine it happening to them and get to imagine what they'd do in the same situation. I think it needs an entry point for the audience to see how easily the familiar could slip into horror, and it has to play on situations they'd imagined being thrown into.
I mentioned this when I discussed 'It' recently: every town has schoolyard legends of a place where
something bad happened, which is where you get films like 'The Haunting' or 'The Legend of Hell House', but where the horror movies of the late 60's and on worked best was they dropped all the gothic and historical trappings and, in doing so, let the audience feel just how unsafe they really are.
'Night of the Living Dead' starts off with a trip to pay respects at a Cemetery and spirals out of control from there. 'Dawn of the Dead' has people barricading themselves in a shopping mall, because everyone has imagined what it would like to be in a mall after hours with full access to the stores.
'Carrie' is the fear of unpopularity and social exclusion. 'Invasion of the Body Snatchers' is fear of the mob. 'The Stepford Wives' is the fear of marriage removing your identity. 'The Exorcist', 'The Omen' and 'Rosemary's Baby' all tap into religious fears. 'Cujo' is that dog that has always been friendly suddenly growling and barking at you.
'The Hitcher' is that fear of the stranger in your car turning out to be a maniac. 'The Terminator' and 'The Day After' are the fear of nuclear war and our powerlessness under governments. (I watched the latter sometime in the last two years with a friend, both of us expecting to laugh at a piece of 80's camp, and we both were stonefaced by the end of it).
'The Shining' is the fear of the Patriarch becoming abusive. 'A Nightmare on Elm Street' relies on the audience knowing just how hard it is to stay awake after a nightmare. 'When A Stranger Calls' and 'Halloween' is that feeling you get when you wonder if there's an intruder in the house.
'The Texas Chainsaw Massacre', 'Deliverance', 'Psycho', '2000 Maniacs', 'Deranged' and 'Children of the Corn' is city people driving through the country and thinking "How could
anyone live here?" David Cronenberg and the Japanese understand
how things can go very wrong with the human body.
The (original European) 'The Vanishing' is very subtle, but I think most people can understand
how far would you go for closure and
how you know you should look away, but just have to see.
Fear of aging. Fear of technology. Fear of the generation gap. See my logic?
Now 'The Thing' should obvious tap into the same territory as 'Invasion of the Body Snatchers', (the '77 version even brilliantly-tapped into the
Uncanny Valley)...
...but seems similar in tone to 'Day of the Dead': an isolated group of people
in a situation very unfamiliar to most viewers grow increasingly-paranoid and divided against each other.
A research station in Antarctica or the underground base in 'Dead' are both functionally a Haunted Castle in Transylvania. It's Old Horror. Given the early 80's timing of the films release, I would have had a town community forced to group together in a shelter, (community hall, hospital, school gymnasium) either due to a massive blizzard, or, unknown to the community,
the government understanding there's a real possibility of a nuclear war.
I would have gone much darker than Carpenter, but it would have started from a place that anyone could see themselves in.
I'd like to hear any theories explaining the movie in human terms to me. Pretend I'm Zuckerberg. It didn't register as a Work Crew in trouble film to me the way 'Alien' does. Show me a way in. I've never found Carpenter interesting in a faux-artistic way, where I could admire his composition and lighting, (Romero, Argento). He's meat-and-potatoes.
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That reminds me: I remember watching a very, very dark film sometime in the late 80's. The hero has a meet cute with a girl in a diner and it plays out like a romantic comedy, until he answers the ringing payphone in the place. It's a wrong number from a military base of a soldier trying to get through to his family. The hero is told its 70 minutes until the nukes hit, and the rest plays out in real time.
I'd love to watch it again, but can't remember the title. Does it sound familiar to anyone? I remember it capturing the nervous, edgy, adrenaline high of understanding
that things are so badly-fucked they can never be unfucked. It's why I always loved 'Return of the Living Dead'.