A U.S. Air Force re-supply crew have evidence that an unknown flying object of some kind crashed nearby. They find that the craft is buried in the ice, with an airfoil of some sort protruding from the surface. They are shocked to discover that the shape of the craft is round — a flying saucer. They agree to free it from the ice with thermite heat explosives, but in doing so accidentally destroy the craft. Crew Chief Bob’s geiger counter locates a body nearby, frozen in the ice. They excavate the tall body, preserving it in a large ice block and return to the research outpost as a major storm moves in, making communication with Anchorage very difficult. Some scientists want to thaw out the creature immediately, but Hendry orders everyone to wait until he receives orders from Air Force authorities. Feeling uneasy guarding the body, Cpl Barnes covers the ice block with a blanket, not realizing it is an electric blanket, and the creature thaws out, revives and escapes to the outside cold.
Although John Ford—his friend, contemporary, and the director arguably closest to him in terms of his talent and output—told him that it was he, and not Ford, who should have won the 1941 Best Director Academy Award (for Sergeant York (1941)), the great Hawks never won an Oscar in competition and was nominated for Best Director only that one time, despite making some of the best films in the Hollywood canon. The Academy eventually made up for the oversight in 1974 by voting him an honorary Academy Award, in the midst of a two-decade-long critical revival that has gone on for yet another two decades. To many cineastes, Howard Hawks is one of the faces of American film and would be carved on any film pantheon’s Mt. Rushmore honoring America’s greatest directors, beside his friend Ford and Orson Welles (the other great director who Ford beat out for the 1941 Oscar). It took the French “Cahiers du Cinema” critics to teach America to appreciate one of its own masters, and it was… read more
While many horror films of the same era have become dated, and don't really work from a horror angle anymore, this one still has the ability to scare even fifty years on. A perfect utilization of location and space to maximize the terror (something the stellar John Carpenter remake would exhibit as well). The scene where the thing catches fire is still breathtaking, and among the best sequences in all horror films.
Makes me realize how talkie this cinema of the 50s was. It became a trademark of all the films from this era, and not all the time in a good way. It's a good film, though. Feels like they tried to compress every scene to make it fit below the 90 minutes limit, but still a funny watch.
This is a pretty fun and entertaining suspense/horror typical of a 50's film. I really liked the dialogue which is often witty and quick, the whole cast is great. Hawks direction is pretty great, he's got a few scenes that are classic moments in film, lighting The Thing on fire is one of them, crazy. The remake is nothing like the original and I think i perfer the ramake to this one. Still a good movie nonetheless.
A look at posters in which actors are absent and the title treatment is king.
An astonishing A-Movie disguised as a B-Movie. When I read the back of the DVD I did not expect a such a well-executed sci-fi film. A focussed storyline, great locations, a solid ensemble cast and… read review