All_About_The_Thing
All_About_The_Thing
All_About_The_Thing
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up. <strong>The</strong>se little shots of the dog feel tacked on. Added when the scene is really over. <strong>The</strong><br />
film is preparing us for later, when we suspect a person has been assimilated but don’t<br />
have the benefit of this extra information. Our thinking then will be that another camp<br />
member is staring at the back of someone’s head in a similar way when we aren’t<br />
looking.<br />
<strong>The</strong> Windows and Garry scene holds our attention on the characters while letting<br />
us know just how isolated they are. Covered in just one shot it is another nail in the<br />
coffin. Garry was apparently on his way for a shower, a homey touch that doesn’t quite<br />
work because it is so different to all the other scenes in the film. It isn’t the sort of detail<br />
we expect to see.<br />
<strong>The</strong> autopsy scene takes place in an atmosphere of reason and science. It doesn’t make a<br />
fetish of the dead body or even linger on the Norwegian-thing. Only the science<br />
personnel are there and nobody eats a sandwich. At the cut Copper is just finishing with<br />
the man shot by Garry. He is covered up by the sheet in wide-shot. We hear there was no<br />
alcohol or drugs in his system, a movie short-cut, as it would take a chemical analysis to<br />
tell.<br />
Although this scene may affect the squeamish it is neutral in the presentation,<br />
there are no shots to emphasise the gore. On one level it is quite surreal, the being on the<br />
table is very weird looking, yet contains human organs. But we have to discover this.<br />
Blair takes it seriously. Twice he uses the word, “normal.” <strong>The</strong> scene is subdued, as are<br />
the men, although Fuchs, in the background, looks twitchy and puzzled. He is definitely<br />
young and eager.<br />
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