All_About_The_Thing

even how the assimilations take place we are all the more aware that we could be reading
too much into what people say. In which case we might be acting paranoid.
Garry’s own question to MacReady is revealing: “So come along now,
MacReady. The Norwegians get ahold of this thing . . . They cart it back . . . “ It is asked
in a stern teacher-like fashion and he trails off before finishing. It is Garry’s attempt to
make an impression with his authority and it contrasts with MacReady who has it without
even trying. It is weak and MacReady responds irritably (“Yes, Garry.”).
Nauls then interrupts to complain about the ripped drawers found in the kitchen
rubbish bin. Immediately we know this refers to the Thing and that something has
happened out of sight. It is the first time we have become aware of the film explicitly
using such a technique, even though it feels very much in the movie’s character. It alerts
the viewer to the film’s strategy of having events occur off-screen, of which we will only
see the scattered clues and after effects.
Blair doesn’t speak at all during this scene but his presence is certainly felt. He
sits quietly listening, looking through some of the Norwegian papers and photographs.
The scene could almost be from his point-of-view. One shot puts him in the foreground
while the others talk in the background. We can understand his state of mind but in
hindsight it is a terrible failing. Nauls’s timing in delivering the ripped underwear could
have been a gift from the gods. The clues already exist (the way the dog-thing tried to
take over the other dogs) to spot the clothing for what it is, but Blair is so absorbed in his
own thoughts he misses what is right in front of him and what the audience sees.
Instead Blair will return to his instruments and make a calculation. He is closed
off. Internalised and isolated with his thoughts.
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