document_title: The Thing (1982 film)

question_text: where does the movie the thing take place

question_tokens: where does the movie the thing take place

text: The Thing (1982 film)

text: Plot[edit]

text:
Actor

Role

Russell, KurtKurt Russell

R. J. MacReady, R. J. MacReady

Brimley, A. WilfordA. Wilford Brimley

Blair, Blair

Carter, T. K.T. K. Carter

Nauls, Nauls

Clennon, DavidDavid Clennon

Palmer, Palmer

David, KeithKeith David

Childs, Childs

Dysart, RichardRichard Dysart

Dr. Copper, Dr. Copper

Hallahan, CharlesCharles Hallahan

Norris, Norris

Maloney, PeterPeter Maloney

Bennings, GeorgeGeorge Bennings

Masur, RichardRichard Masur

Clark, Clark

Moffat, DonaldDonald Moffat

Garry, Garry

Polis, JoelJoel Polis

Fuchs, Fuchs

Waites, ThomasThomas Waites

Windows, Windows

text: In Antarctica, in 1982, a Norwegian helicopter pursues a sled dog to an American research station. The Americans witness the Norwegian passenger accidentally blow up the helicopter and himself. The Norwegian pilot fires a rifle and shouts at the Americans, but they cannot understand him and he is shot dead in self-defense by station commander Garry. The American helicopter pilot, R.J. MacReady, and Dr. Copper leave to investigate the Norwegian base. Among the charred ruins and frozen corpses, they find the burned remains of a malformed humanoid which they recover to the American station. Their biologist, Blair, autopsies the remains and finds a normal set of human organs.

text: Clark kennels the sled dog where it soon metamorphoses and absorbs the station dogs. This disturbance alerts the team and Childs uses a flamethrower to incinerate the creature. Blair autopsies the new creature and learns that it can perfectly imitate other organisms. Recovered Norwegian data leads the Americans to a large excavation site containing a partially buried flying saucer, and a smaller, human-sized dig site. Norris estimates that the saucer has been buried for at least 100,000 years. Blair grows paranoid that the creature could assimilate all life on Earth in a matter of years. The station implements controls to reduce the risk of assimilation.

text: The "dead", malformed humanoid creature assimilates an isolated Bennings, but Windows interrupts the process and MacReady burns the Bennings-Thing. Blair sabotages all the vehicles, kills the remaining sled dogs, and destroys the radio to prevent escape. The team imprison him in a tool shed. Copper suggests a test to compare each member's blood against uncontaminated blood held in storage, but after learning that the blood stores have been destroyed, the men lose faith in Garry, and MacReady takes command.

text: MacReady, Windows and Nauls find Fuchs' burnt corpse and surmise he committed suicide to avoid assimilation. Windows returns to base while MacReady and Nauls investigate MacReady's shack. On their return, Nauls abandons MacReady in a snowstorm, believing he has been assimilated after finding his torn clothes in the shack. The team debate whether to allow MacReady inside, but he breaks in and holds the group at bay with dynamite. During the encounter, Norris appears to suffer a heart attack.

text: As Copper attempts to defibrillate Norris, his chest transforms into a large mouth and bites off Copper's arms. MacReady incinerates the Norris-Thing, but its head separates from the body and attempts to escape before also being burnt. MacReady is forced to kill Clark in self-defense when he refuses to follow MacReady's orders. He hypothesizes that the Norris-Thing's head demonstrated that every part of the Thing is an individual life form with its own survival instinct. He sequentially tests blood samples with a heated piece of wire. Everyone passes the test except Palmer, whose blood jumps from the heat. Palmer transforms and infects Windows, forcing MacReady to burn them both.

text: Childs is left on guard while the others go to test Blair. They find that Blair has escaped, and has been using vehicle components to craft a small spaceship. On their return, Childs is missing and the power generator is destroyed. MacReady speculates that the Thing intends to return to hibernation until a rescue team arrives. MacReady, Garry, and Nauls decide to detonate the station to destroy the Thing. As they set explosives, Blair kills Garry and Nauls disappears. Blair transforms into an enormous creature and destroys the detonator. MacReady triggers the explosives using a stick of dynamite, destroying the base.

text: MacReady sits nearby as the camp burns. Childs returns, saying he became lost in the storm while pursuing Blair. Exhausted and slowly freezing to death, they acknowledge the futility of their distrust and share a bottle of scotch.

text: Production[edit]

text: Development[edit]

text: Development of the film began in the mid-1970s when producers David Foster and Lawrence Turman suggested an adaptation of the 1938 John W. Campbell, Jr. novella Who Goes There? to Universal Pictures. It had been loosely adapted once before in Howard Hawks' and Christian Nyby's 1951 film The Thing from Another World, but Foster and Turman wanted to develop a project that stuck more closely to the source material. Screenwriters Hal Barwood and Matthew Robbins held the rights to make an adaptation, but passed on the opportunity to make a new film, so Universal obtained the rights from them.[2][3] In 1976, Wilbur Stark had purchased the remake rights to 23 RKO Pictures films, including The Thing from Another World, from three Wall Street financiers who did not know what to do with them, in exchange for a return when the films were produced.[4] Universal in turn acquired the rights to remake the film from Stark, resulting in him being given an executive producer credit on all print advertisements, posters, television commercials, and studio press material.[5]

text: John Carpenter was first approached about the project in 1976 by co-producer and friend Stuart Cohen,[6] but Carpenter was mainly an independent film director, so Universal chose The Texas Chain Saw Massacre (1974) director Tobe Hooper as they already had him under contract. The producers were ultimately unhappy with Hooper and his writing partner Kim Henkel's concept. After several more failed pitches by different writers, and attempts to bring on other directors, such as John Landis, the project was put on hold. Even so, the success of Ridley Scott's 1979 science fiction horror film Alien helped revitalize the project, at which point Carpenter became loosely attached following his success with his influential slasher film Halloween (1978).[2][7]

text: Carpenter was reluctant to join the project as he thought Hawks' adaptation would be difficult to surpass, although he considered the film's monster to be unnotable. Cohen suggested that he read the original novella. Carpenter found the "creepiness" of the imitations conducted by the creature, and the questions it raised interesting. Carpenter drew parallels between the novella and Agatha Christie's mystery novel And Then There Were None (1939), and noted that Who Goes There's story was "timely" for him, meaning he could make it "true to [his] day" as Hawks had in his time.[8] Carpenter, a fan of Hawk's adaptation, paid homage to it in Halloween, and he watched The Thing from Another World several times for inspiration before filming began.[9][10] Carpenter and cinematographer Dean Cundey first worked together on Halloween, and The Thing was their first big budget project for a major film studio.[10]

text: After securing the writer and crew, the film was stalled again when Carpenter nearly quit, believing that a passion project of his, El Diablo (1990), was on the verge of being made by EMI Films. The producers discussed various replacements including Walter Hill, Sam Peckinpah and Michael Ritchie, but the development of El Diablo was not as imminent as Carpenter believed, and he remained with The Thing.[2]

text: Universal initially set a budget of $10 million, with a modest $200,000 for "creature effects," which at the time was more than the studio had ever allocated to a monster film. Filming was scheduled to be completed within 98 days. Universal's production studios estimated that it would require at least $17 million before marketing and other costs, as the plan involved more set construction, including external sets and a large set piece for the original scripted death of Bennings which was estimated to cost $1.5 million alone. As storyboarding and designs were finalized, the crew estimated they would need at least $750,000 for creature effects, a figure Universal executives agreed to after seeing the number of workers employed under special make-up effects designer Rob Bottin. Associate producer Larry Franco was responsible for making the budget work for the film; he cut the filming schedule by a third, eliminated the exterior sets for on-site shooting, and removed Bennings' more extravagant death scene. Cohen meanwhile suggested reusing the destroyed American camp as the ruined Norwegian camp, saving a further $250,000. When filming began in August, The Thing had a budget of $11.4 million, and indirect costs brought it to $14 million.[11] The effects budget eventually ran over by $1.5 million, forcing the elimination of some scenes including Nauls' confrontation of a creature dubbed the "box Thing".[11][12] By the end of production, Carpenter had to make a personal appeal to executive Ned Tanen for a $100,000 to complete a simplified version of the Blair-Thing.[11] The final cost was $12.4 million, and overhead costs brought it to $15 million.[11][12]

text: Writing[edit]

text: Several writers developed drafts for The Thing before Carpenter became involved including Logan's Run (1967) writer William F. Nolan, novelist David Wiltse, and Hooper and Henkel, whose draft was set at least partially underwater, and which Cohen described as a Moby-Dick-like story in which "The Captain" did battle with a large, non-shapeshifting creature.[2] As Carpenter said in a 2014 interview, "they were just trying to make it work".[13] The writers left before Carpenter joined the project.[13][14][15] He said the scripts were "awful," as they changed the story into something it was not, and ignored the chameleon-like aspect of the "Thing".[6] Carpenter did not want to write the project himself, after recently completing work on Escape from New York (1981), and having struggled to complete a screenplay for The Philadelphia Experiment (1984). He was wary of taking on writing duties, preferring to let someone else do it.[8] Once Carpenter was confirmed as the director, several writers were asked to script The Thing, including Richard Matheson, Nigel Kneale, and Deric Washburn.[2]

text: Bill Lancaster initially met with Turman, Foster and Cohen in 1977, but he was given the impression that they wanted to closely replicate The Thing from Another World, and he did not want to remake the film.[16] In August 1979, Lancaster was contacted again. By this time he had read the original Who Goes There? novella, and Carpenter had become involved in the project.[16] Lancaster was hired to write the script after describing his vision for the film, and his intention to stick closely to the original story,[16] to Carpenter who was a fan of Lancaster's work on The Bad News Bears (1976).[8][15] Lancaster conceived several key scenes in the film including the Norris-Thing biting Dr. Copper, and the use of blood tests to identify the Thing, which Carpenter cited as the reason he wanted to work on the film.[8] Lancaster said he found some difficulty in translating Who Goes There? to film, as it features very little action. He also made some significant changes to the story, such as reducing the number of characters from 37 to 12. He said 37 was excessive and would be difficult for audiences to follow, leaving little screen time for characterization. He also opted to alter the story's structure, choosing to open his in the middle of the action, instead of using a flashback with MacReady (a meteorologist named McReady in the novella).[16] Several characters were modernized for contemporary audiences, such as MacReady who became a tough loner described in the script as "35. Helicopter pilot. Likes chess. Hates the cold. The pay is good." Lancaster aimed to create an ensemble piece where one person emerged as the hero, instead of having a Doc Savage-type hero from the start.[17]

text: Lancaster wrote approximately 30 to 40 pages, but eventually struggled writing the film's second act and it took him several months to complete the script.[8][16] After it was finished, Lancaster and Carpenter spent a weekend in Northern California refining the script, each having different takes on how a character should sound, and comparing their ideas for scenes. Lancaster's script opted to keep the creature largely concealed throughout the film, and it was Bottin who convinced Carpenter to make it more visible to have a greater impact on the audience.[8][18] Lancaster's original ending had both MacReady and Childs turn into the Thing. In the spring, the characters are rescued by helicopter, greeting their saviors with "Hey, which way to a hot meal?". Carpenter thought this ending was too shallow. In total, Lancaster completed four drafts of the screenplay.[17] The novella concludes with the humans clearly victorious, but concerned that birds they see flying towards the mainland may have been infected by the Thing. Carpenter opted to end the film with the survivors slowly freezing to death to save humanity from infection, believing this to be the ultimate heroic act.[8][17] Lancaster wrote this ending, which eschews The Twilight Zone-style twist or the destruction of the monster, as he wanted to have an ambiguous moment between the pair, of trust and mistrust, and fear and relief instead.[19]

text: Casting[edit]

text: Kurt Russell was involved in the production before being cast, helping Carpenter develop his ideas.[20] Russell was the last actor to be cast, in June 1981, by which point second unit filming was starting in Juneau, Alaska.[20][21] Carpenter had worked with Russell twice before, but wanted to keep his options open. Discussions with the studio involved using actors Christopher Walken, Jeff Bridges, or Nick Nolte who were either unavailable or declined, and Sam Shepard, who showed interest but was never pursued. Tom Atkins and Jack Thompson were strong early and late contenders for the role of MacReady, but the decision was made to go with Russell.[21] In part, Carpenter cited the practicality of choosing someone he had found reliable before, and who would not balk at the difficult filming conditions.[22] It took Russell about a year to grow his hair and beard out for the role.[23] At various points, the producers met with Brian Dennehy, Kris Kristofferson, John Heard, Ed Harris, Tom Berenger, Jack Thompson, Scott Glenn, Fred Ward, Peter Coyote, Tom Atkins, and Tim McIntyre. Some passed on the idea of starring in a monster film, while Dennehy became the choice to play Copper.[21] Each actor was to be paid $50,000, but after the more established Russell was cast, his salary increased to $400,000.[11]

text: Geoffrey Holder, Carl Weathers, and Bernie Casey were considered for the role of Childs, and Carpenter also looked at Isaac Hayes, having worked with him on Escape from New York. Ernie Hudson was the front-runner and was almost cast until they met with Keith David.[24] The Thing was David's first film, and coming from a theater background, he had to learn on set how to hold himself back and not show every emotion his character was feeling, with guidance from Richard Masur and Donald Moffat in particular. Masur and David discussed their characters in rehearsals and decided that they would not like each other.[25] For Blair, the team chose the then-unknown Wilford Brimley as they wanted an everyman whose absence would not be questioned by the audience until the appropriate time. The intent with this character was to have him become infected early on off screen, so that his status would be unknown to the audience, concealing his intentions. Carpenter wanted to cast Donald Pleasence, but it was decided that he was too recognizable to accommodate the role.[26] T.K. Carter was cast as Nauls, but comedian Franklyn Ajaye also came in to read for the role. Instead, he delivered a lengthy speech about the character being a stereotype, after which the meeting ended.[27]

text: Bottin lobbied hard to play Palmer, but it was deemed impossible for him to do so alongside his existing duties. As the character has some comedic moments, Universal brought in comedians Jay Leno, Gary Shandling, and Charles Fleischer, among others, but opted to go with actor David Clennon who was better suited to play the dramatic elements.[28] Clennon had read for the Bennings' character, but he preferred the option of playing Palmer's "blue-collar stoner" to a "white collar science man".[25] Powers Boothe,[2] Lee Van Cleef, Jerry Orbach, and Kevin Conway were considered for the role of Garry, and Richard Mulligan was also considered when the production experimented with the idea of making the character closer to MacReady in age.[29] Masur also read for Garry, but he asked to play Clark instead, as he liked the character's dialogue and was also a fan of dogs. Masur worked daily with the wolfdog Jed, and his handler Clint Rowe, during rehearsals, as Rowe was getting Jed used to the sounds and smells of people. This helped Masur's and Jed's performance on screen as the dog would stand next to him without looking for its handler. Masur described his character as one uninterested in people, but who loves working with dogs. He went to a survivalist store and bought a flip knife for his character that he used in a confrontation with David's character.[25] Masur turned down a role in E.T. the Extra Terrestrial to play Clark.[30] William Daniels and Dennehy were both interested in playing Dr. Copper, and it was a last second decision by Carpenter to go with Dysart.[29]

text: In early drafts, Windows was called Sanchez, and later Sanders. The name Windows came when Waites was in a costume fitting and tried on a large pair of dark glasses, which the character wears in the film.[31] Norbert Weisser portrays one of the Norwegians,[32] and Jed appears uncredited as the dog "Thing".[33] The only female presence in the film is the voice of MacReady's chess computer, voiced by Carpenter's then-wife Adrienne Barbeau.[2][12] Russell described the all-male story as interesting, since the men had no one to posture for without women.[20] Members of the crew appear in a cameo on a recovered photograph of the Norwegian team, including camera operator Ray Stella, production manager Robert Brown, producer David Foster, Franco, stunt coordinator Dick Warlock, and Lancaster.[34] Stella also stood in for the shots where needles were used to take blood, telling Carpenter that he could do it all day. Likewise, Franco serves as the Norwegian wielding a rifle and hanging out of the helicopter during the opening sequence.[23][32] Anita Dann served as casting director.[25]

text: Filming[edit]

text: The Thing was storyboarded extensively by Mike Ploog and Mentor Huebner before filming began. Their work was so detailed that many of the film's shots replicate the image layout completely.[35] Cundey pushed for the use of Anamorphic format aspect ratio, believing that it allowed them to place several actors in an environment, and make use of the scenic vistas available, while still making them feel confined within the image. It also allowed them to make use of the negative space around the actors to imply something may be lurking just off-screen.[23]

text: Principal photography began on August 24, 1981, in Juneau, Alaska.[12][36] Filming lasted approximately 12 weeks.[37] Carpenter insisted on two weeks of rehearsals before filming as he wanted to see how scenes would play out. This was unusual at the time because of the expense involved.[19] Filming then moved to the Universal lot in summer when the outside heat was over 100 °F (37.8 °C). The internal sets were climate controlled to 28 °F (−2.22 °C) to facilitate their work.[20][36] The team considered building the sets inside an existing refrigerated structure, but were unable to find one large enough. Instead they collected as many portable air conditioners as they could, closed off the stage, and used humidifiers and misters to add moisture to the air.[38] After watching a roughly assembled cut of filming to date, Carpenter was unhappy that the film seemed to feature too many scenes of men standing around talking. He rewrote some already completed scenes to take place outdoors to be shot on location when principal photography moved to Stewart, British Columbia.[10][25]

text: Carpenter was determined to use authentic locations instead of studio sets, and his successes on Halloween and The Fog (1980) gave him the credibility to take on the much bigger-budget production of The Thing. A film scout located an area just outside Stewart, along the Canadian coast, which offered the project both scenic value during the day, and ease of access.[10] On December 2, 1981, roughly 100 American and Canadian crew members moved to the area to begin filming.[37] During the journey there, the crew bus slid in the snow towards the unprotected edge of the road, nearly sending it down a 500 feet (152 m) embankment.[30] Some of the crew stayed in the small mining town during filming, while others lived on residential barges on the Portland Canal.[25] They would make the 27 miles (43.5 km) drive up a small, winding road to the filming location in Alaska where the exterior outpost sets were built.[20][25][39]

text: The sets had been built in Alaska during the summer, atop a rocky area overlooking a glacier, in preparation for snow to fall and cover them.[10] They were used for both interior and exterior filming, meaning they could not be heated above freezing inside to ensure there was always snow on the roof. Outside, the temperature was so low that the camera lenses would freeze and break.[20] The crew had to leave the cameras in near-external conditions, as keeping them inside in the warmth resulted in foggy lenses that took hours to clear.[36] It took three weeks to complete filming there.[38] Filming was heavily dependent on the weather, and some days it was impossible to film because of heavy snow.[25] It took eight hours to rig the explosives necessary to destroy the set in the film's finale.[40]

text: Keith David broke his hand in a car accident the day before he was to begin shooting. David attended filming the next day but when Carpenter and Franco saw his swollen hand, they sent him to the hospital where it was punctured with two pins. David returned wearing a surgical glove beneath a black glove that was painted to resemble his complexion. His left hand is not seen for the first half of the film.[25] Carpenter filmed the Norwegian camp scenes after the end scenes, using the damaged American base as a stand in for the charred Norwegian camp.[41] The explosive destruction of the base required the camera assistants to stand inside the set with the explosives which were activated remotely. The assistants then had to run to a safe distance while seven cameras captured the base's destruction.[40] Filmed when the heavy use of special effects was rare, the actors had to adapt to having Carpenter describe to them what their characters were looking at, as the effects would not be added until post-production. There were some puppets used to create the impression of what was happening in the scene, but in other cases the cast would be looking at a wall or an object marked with an "X".[20]

text: Art director John J. Lloyd oversaw the design and construction of all the sets, as there were no existing locations used in the film.[38] Cundey suggested that the sets should have ceilings and pipes seen on camera to make the spaces seem more claustrophobic.[38]

text: Post-production[edit]

text: Several scenes in the script were omitted from the film, sometimes because there was too much dialogue that slowed the pace and undermined the suspense. Carpenter blamed some of the issues on his directorial method, as he noted that several scenes appeared to be repeating events or information. Another scene featuring a snowmobile chase pursuing dogs was removed from the shooting script as it would have been too expensive to film. One scene present in the film, but not the script, features a monologue by MacReady. Carpenter added this partly to establish what was happening in the story, and because he wanted to highlight Russell's heroic character after taking over the camp. Carpenter said that Lancaster's experience writing ensemble pieces did not emphasize single characters. Since Halloween, several horror films had replicated many of the scare elements from that film, something Carpenter wanted to move away from for The Thing. He removed scenes from Lancaster's script that had been filmed, such as a body suddenly falling into view at the Norwegian camp, which he felt was too clichéd.[8] Approximately three minutes of scenes were filmed from Lancaster's script that elaborated on the characters backgrounds.[25]

text: A scene with MacReady absentmindedly inflating a blow-up doll while watching the Norwegian tapes was filmed but was not in the finished film. The doll would later appear as a jump scare with Nauls. Other scenes featured expanded or alternate deaths for various characters. In the finished film, Fuchs' charred bones are discovered revealing he has died off -screen, but a different take sees his corpse impaled on a wall with a shovel. Nauls was scripted to appear in the finale as a partly assimilated mass of tentacles, but in the film he simply disappears.[42] Carpenter struggled with a method of conveying to the audience what assimilation by the creature actually meant. Lancaster's original set piece of Bennings' death had him pulled beneath a sheet of ice by the "Thing", before resurfacing in different areas in various stages of assimilation. The scene called for a set to be built on one of Universal's largest stages, with sophisticated hydraulics, dogs, and flamethrowers, but it was deemed too costly to produce.[43] A scene was filmed with Bennings being murdered by an unknown assailant, but it was felt that assimilation, leading to his death, was not explained enough. Short on time, and with no interior sets remaining, a small set was built, Maloney was covered with K-Y Jelly, orange dye, and rubber tentacles. Monster gloves for a different creature were repurposed to demonstrate partial assimilation.[42][43]

text: Carpenter filmed multiple endings for The Thing, including a "happier" ending because editor Todd Ramsay thought that the bleak, nihilistic conclusion would not test well with audiences. In the alternate take, MacReady is rescued and given a blood test that proves he is not infected.[41][44] Carpenter said that stylistically this ending would have been "cheesy".[8] Editor Verna Fields was tasked with reworking the ending to add clarity and resolution. It was finally decided to create an entirely new scene, that omitted the suspicion of Childs being infected by removing him completely, leaving MacReady alone.[8][45] This new ending tested only slightly better with audiences than the original, and the production team agreed to the studio's request to use it.[45][46] It was set to go to print for theaters, until the producers, Carpenter and executive Helena Hacker decided that the film was better left with ambiguity than nothing at all. Carpenter gave his approval to restore the ambiguous ending, but a scream was inserted over the outpost explosion to posit the monster's death.[8][45] Then-Universal executive Sidney Sheinberg disliked the ending's nihilism and, according to Carpenter, said "think about how the audience will react if we see the ["Thing"] die with a giant orchestra playing".[8][46] Carpenter later noted that the original and the Childs-less endings tested poorly with audiences, which he interpreted was because the film was simply not heroic enough.[8]

text: Music[edit]

text:
Ennio Morricone – Main Theme from The Thing'

Ennio Morricone created a sound that replicated John Carpenter's own style of synthesized music. This piece is used throughout The Thing.

Problems playing this file? See media help.

text: Ennio Morricone composed the film's score as Carpenter wanted The Thing to have a European musical approach.[47][48] Carpenter flew to Rome to speak with Morricone to convince him to take the job. By the time Morricone flew to Los Angeles to record the score, he had already developed a tape filled with an array of synthesizer music since he was unsure what type of score Carpenter wanted.[49] Morricone wrote complete separate and complete orchestral and synthesizer scores, which he knew was Carpenter's preference.[50] Carpenter picked a piece that closely resembled his own scores. It became the main theme used throughout the film.[49] He also played the score from Escape from New York for Morricone as an example. Morricone made several more attempts, bringing the score closer to Carpenter's own style of music.[47] In total, Morricone produced a score of approximately one hour which remained largely unused, but was later released as part of the film's soundtrack.[51] Carpenter and his long-time collaborator Alan Howarth separately developed some synth-styled pieces used in the film.[52] In 2012, Morricone recalled,

text: I’ve asked [John Carpenter], as he was preparing some electronic music with an assistant to edit on the film, ‘Why did you call me, if you want to do it on your own?’ He surprised me, he said – “I got married to your music. This is why I’ve called you.’…Then when he showed me the film, later when I wrote the music, we didn’t exchange ideas. He ran away, nearly ashamed of showing it to me. I wrote the music on my own without his advice. Naturally, as I had become quite clever since 1982, I’ve written several scores relating to my life. And I had written one, which was electronic music. And [Carpenter] took the electronic score.[47]

text: Carpenter said:

text: [Morricone] did all the orchestrations and recorded for me 20 minutes of music I could use wherever I wished but without seeing any footage. I cut his music into the film and realized that there were places, mostly scenes of tension, in which his music would not work…I secretly ran off and recorded in a couple of days a few pieces to use. My pieces were very simple electronic pieces – it was almost tones. It was not really music at all but just background sounds, something today you might even consider as sound effects.[47]

text: Design[edit]

text: Creature effects[edit]

text: The Thing's special effects were largely designed by Rob Bottin,[18] who had previously worked with Carpenter on The Fog (1980).[53] When Bottin joined the project in mid-1981, pre-production was in progress, but no design had been settled on for the alien.[53] Artist Dale Kuipers had created some preliminary paintings of the creature's look, but he left the project after being hospitalized following a traffic accident before he could develop them further with Bottin.[12][53] Carpenter conceived the Thing as a single creature, but Bottin suggested that it should be constantly changing and able to look like anything.[14] Carpenter initially considered Bottin's description of his ideas as "too weird", and had him work with Ploog to sketch them instead.[53] As part of the Thing's design, it was agreed anyone assimilated by it would be a perfect imitation and would not know they were the Thing.[23] The actors spent hours during rehearsals discussing whether they would know they were the Thing when taken over. Clennon said that it did not matter as everyone acted, looked and smelled exactly the same before being taken over.[25] At its peak, Bottin had a 35-person crew of artists and technicians, and he found it difficult to work with so many people. He hired special effects line producer Erik Jensen, who he had worked with him on The Howling (1981), to be in charge of the special makeup effects unit to help manage Bottin's team.[54] Bottin's crew also included mechanical aspect supervisor Dave Kelsey, makeup aspect coordinator Ken Diaz, moldmaker Gunnar Ferdinansen, and Bottin's longtime friend Margaret Beserra who managed painting and hair work.[54]

text: In designing the Thing's different forms, Bottin explained that the creature had been all over the galaxy. This allowed it to call on different attributes as necessary, such as stomachs that transform into giant mouths and spider-legs sprouting from heads.[18] Bottin said the pressure he experienced caused him to dream about working on designs, some of which he would take note of after waking.[53] One abandoned idea included a series of dead baby monsters, which was deemed "too gross".[12] Bottin admitted he had no idea how his designs would be implemented practically, but Carpenter did not reject them. Carpenter said, "what I didn't want to end up with in this movie was a guy in a suit ... I grew up as a kid watching science-fiction monster movies, and it was always a guy in a suit."[44] According to Cundey, Bottin was very sensitive about his designs, and worried about the film showing too many of them.[41] At one point, as a preemptive move against any censorship, Bottin suggested making the creature's violent transformations, and the appearance of the internal organs more fantastical by the colors used. The decision was made to tone down the color of the blood and viscera, although much of the filming had been completed by that point.[14] The creature effects used a variety of materials including mayonnaise, creamed corn, microwaved bubble gum, and K-Y Jelly.[9]

text: During filming, then-21-year-old Bottin was hospitalized for exhaustion, double pneumonia and a bleeding ulcer, caused by his extensive workload. Bottin himself explained he would "hoard the work", opting to be directly involved in many of the complicated tasks.[55] His dedication to the project saw him spend over a year living on the Universal lot. Bottin said he did not take a day off during that time, and slept on the sets or in locker rooms.[12] To take some pressure off his crew, Bottin enlisted the aid of special effects creator Stan Winston to complete some of the designs, primarily the Dog-Thing.[41][54] With insufficient time to create a sophisticated mechanical creature, Winston opted to create a hand puppet. A cast was made of makeup artists Lance Anderson's arm and head, around which the Dog-Thing was sculpted in oil-based clay. The final foam-latex puppet, worn by Anderson, featured radio controlled eyes and cable-controlled legs,[56] and was operated from below a raised set on which the kennel was built.[56][10] Slime from the puppet would leak onto Anderson during the two days it took to film the scene, and he had to wear a helmet to protect himself from the explosive squibs simulating gun fire. Anderson pulled the tentacles into the Dog-Thing and reverse motion was used to create the effect of them slithering from its body.[56] Winston refused to be credited for his work, insisting that Bottin deserved sole credit; Winston was given a "thank you" in the credits instead.[41][54]

text: In the "chest chomp" scene, Dr. Copper attempts to revive Norris with a defibrillator. Revealing himself as the thing, Norris' chest transforms into a large mouth that severs Copper's arms. Bottin accomplished this scene by recruiting a double amputee and fitting him with prosthetic arms filled with wax bones, rubber veins and jell-o. The arms were then placed into the practical stomach mouth where the mechanical jaws clamped down on them, at which point the actor pulled away, severing the false arms.[41] The effect of the Norris-Thing's head detaching from the body to save itself took many months of testing before Bottin was satisfied enough to film it. The scene involved a fire effect, but the crew were unaware that fumes from the rubber foam chemicals inside the puppet were inflammable. The fire ignited the fumes causing a large fireball that engulfed the puppet. It suffered only minimal damage after the fire had been put out, and the crew successfully filmed the scene.[30][57] Stop motion expert Randall William Cook developed a sequence for the end of the film where MacReady is confronted by the gigantic Blair-Thing. Cook created a miniature model of the set and filmed wide-angle shots of the monster in stop motion, but Carpenter was not convinced by the effect and used only a few seconds of it.[41] It took 50 people to operate the actual Blair-Thing puppet.[23]

text: The production intended to use a camera centrifuge—a rotating drum with a fixed camera platform—for the Palmer-Thing scene, allowing him to seem to run straight up the wall and across the ceiling. Again, the cost was too high and the idea abandoned for a stuntman falling into frame onto a floor made to look like the outpost's ceiling.[58] Stuntman Anthony Cecere stood in for the Palmer-Thing after MacReady sets it on fire and it crashes through the outpost wall.[59]

text: Visuals and lighting[edit]

text: Cundey worked with Bottin to determine the appropriate lighting for each creature. He wanted to show off Bottin's work because of its detailing, but he was conscious that showing too much would reveal its artificial nature, breaking the illusion. Each encounter with the creature was planned for areas where they could justify using a series of small lights to highlight the particular creature model's surface and textures. Cundey would illuminate the area behind the creature to detail its overall shape. He worked with Panasonic and a few other companies to develop a camera capable of automatically adjusting light exposure at different film speeds. He wanted to try filming the creature at fast and slow speeds thinking this would create a more interesting visual effect, but they were unable to accomplish this at the time. For the rest of the set, Cundey created a contrast by lighting the interiors with warmer lights hung overhead in conical shades so that they could still control the lighting and have darkened areas on set. The outside was constantly bathed in a cold, blue light that Cundey had discovered being used on airport runways. The reflective surface of the snow and the blue light helped create the impression of coldness.[10] The team also made use of the flamethrowers and magenta-hued flares used by the actors to create dynamic lighting.[10]

text: The team originally wanted to shoot the film in black and white, but Universal was reluctant as it could affect their ability to sell the television rights for the film. Instead, Cundey suggested muting the colors as much as possible. The inside of the sets was painted in neutral colors such as gray, and many of the props were also painted gray, while the costumes were a mix of somber browns, blues, and grays. They relied on the lighting to add color.[38] Albert Whitlock provided matte painted backdrops, including the scene in which the Americans discover the giant alien spaceship buried in the ice.[10] A scene where MacReady walks up to a hole in the ice where the alien had been buried was filmed at Universal, while the surrounding area including the alien spaceship, helicopter, and snow were all painted.[23]

text: Carpenter's friend John Wash, who developed the opening computer simulation for Escape from New York, designed the computer program showing how the Thing assimilates other organisms.[23] Model maker Susan Turner built the alien ship approaching Earth in the pre-credits sequence, which featured 144 strobing lights.[60] Drew Struzan designed the film's poster. He completed it in 24 hours, based only on a briefing, knowing little about the film.[61]

text: Release[edit]

text: The lack of information about the film's special effects drew the attention of film exhibitors in early 1982. They wanted reassurance that The Thing was a first-rate production capable of attracting audiences. Cohen and Foster, with a specially employed editor and Universal's archive of music, put together a 20-minute showreel emphasizing action and suspense. They used available footage, including alternate and extended scenes not in the finished film, but avoided revealing the special effects as much as possible. The reaction from the exclusively male exhibitors was generally positive, and Universal executive Robert Rehme told Cohen that the studio was counting on The Thing's success, as they expected E.T. the Extra Terrestrial to appeal only to children.[62] While finalizing the film, Universal sent Carpenter a demographic study showing that the audience appeal of horror films had declined by 70% over the previous six months. Carpenter considered this a suggestion that he lower his expectations of the film's performance.[14] After one market research screening, Carpenter queried the audience on their thoughts, and one audience member asked: "Well what happened in the very end? Which one was the Thing...?" When Carpenter responded it was up to their imagination, the audience member responded, "Oh, God. I hate that."[8]

text: After returning from a screening of E.T. the Extra Terrestrial, the audience's silence at a The Thing trailer caused Foster to remark "We're dead". The response to public pre-screenings of The Thing resulted in the studio changing the somber, black and white advertising approved by the producers to a color image of a person with a glowing face. The tagline was also changed from "Man is the warmest place to hide"—written by Stephen Frankfort who wrote the Alien tagline "In space, no one can hear you scream"—to "The Ultimate in Alien Terror", trying to capitalize on Alien's audience. Carpenter made a last-minute change to the film's title to Who Goes There? to no avail.[63] The week before its release, Carpenter promoted the film with clips on Late Night with David Letterman.[64] In 1981, horror magazine Fangoria held a contest encouraging readers to submit drawings of what the Thing would look like. Winners were rewarded with a trip to Universal Studios.[30] On its opening day, a special screening was held at the Hollywood Pacific Theatre, presided over by Elvira, Mistress of the Dark, with free admission for those in costume as monsters.[63]

text: Box office[edit]

text: The Thing was released in the United States on June 25, 1982.[12] During its opening weekend, the film earned $3.1 million from 840 theaters—an average of $3,699 per theater—finishing as the number eight film of the weekend behind supernatural horror Poltergeist ($4.1 million) which was in its fourth weekend of release, and ahead of action film Megaforce ($2.3 million).[65][66] It dropped out of the top ten grossing films after three weeks.[67] It ended its run earning a total of $19.6 million, against its $15 million budget,[44][65] making it only the 42nd highest-grossing film of 1982.[68] It was not a box office failure, nor was it a hit.[1]

text: Since its release, cultural historians and critics have attempted to understand what led to The Thing's initial failure to connect with audiences.[69] In a 1999 interview, Carpenter said audiences rejected The Thing for its nihilistic, depressing viewpoint at a time when the United States was in the midst of a recession.[8] When it opened, it was competing against the critically and commercially successful E.T. the Extra-Terrestrial ($619 million), a more family-friendly film, released two weeks earlier that offered a more optimistic take on alien visitation.[23][69][70] Carpenter described it as the complete opposite of his film.[30] The Thing opened on the same day as the science fiction film Blade Runner. It debuted as the number two film that weekend with a take of $6.1 million and went on to earn $33.8 million.[66][71] It was also regarded as a critical and commercial failure at the time.[1] Others blamed an oversaturation of science fiction and fantasy films released that year, including Conan the Barbarian ($130 million), Poltergeist ($121.7 million), The Road Warrior ($34.5 million), Star Trek II: The Wrath of Khan ($97 million), and Tron ($33 million). Some blamed Universal's poor marketing, which did not compete with the deluge of promotion for prominent films released that summer.[1][69]

text: Another factor was the R-rating it was given, restricting the audience to those over the age of 17, unless accompanied by an adult. Poltergeist received a PG rating, allowing families and younger children to view it.[1]

text: Critical response[edit]

text:
"I take every failure hard. The one I took the hardest was The Thing. My career would have been different if that had been a big hit ... The movie was hated. Even by science-fiction fans. They thought that I had betrayed some kind of trust, and the piling on was insane. Even the original movie's director, Christian Nyby, was dissing me."

—John Carpenter in 2008 on the reception of The Thing[72]

tag: div

text: The film received negative reviews on its release, and hostility for its bleak tone and graphic violence.[73][74] Cinefantastique printed an issue with The Thing on its cover asking, "Is this the most hated movie of all time?"[1] Some reviewers were dismissive of the film, calling it the "quintessential moron movie of the 80's", "instant junk",[75] and a "wretched excess".[76] Starlog's Alan Spencer called it a "cold and sterile" horror movie attempting to cash in on the genre audience, against the "optimism of E.T., the reassuring return of Stark Trek II, the technical perfection of Tron, and the sheer integrity of Blade Runner".[77]

text: The plot was criticized as "boring",[78] and undermined by the special effects.[79] The Los Angeles Times's Linda Gross said that The Thing was "bereft, despairing, and nihilistic", and lacking in feeling, meaning the characters' deaths did not matter.[80] Spencer said it featured sloppy continuity, lacked pacing, and was devoid of warmth or humanity.[77] David Ansen of Newsweek felt the film confused the use of effects with creating suspense, and that it lacked drama by "sacrificing everything at the altar of gore".[79] The Chicago Reader's Dave Kehr considered the dialogue to be banal and interchangeable, making the characters seem and sound alike.[81] The Washington Post's Gary Arnold said it was a witty touch to open with the Thing having already overcome the Norwegian base, defeating the type of traps seen in the 1951 version,[76] while New York's David Denby lamented that the Thing's threat is only shown externally, without focusing on what it is like for someone who thinks they have been taken over.[78] Roger Ebert considered the film to be scary, but offering nothing original beyond the special effects,[82] while the New York Times said it was entertaining only if the viewer needed to see spider-legged heads and dog autopsies.[75]

text: Reviews of the actors' performances were generally positive,[83][77] while criticizing the depictions of the characters they portrayed.[82][84][79] Ebert said they lacked characterization, offering basic stereotypes that existed just to be killed, and Spencer called the characters bland even though the actors do the best they can with the material.[82][77] Time's Richard Schickel singled Russell out as the "stalwart" hero, where other characters were not as strongly or wittily characterized,[83] and Variety said that Russell's heroic status was undercut by the "suicidal" attitude adopted towards the film's finale.[84] Other reviews criticized implausibilities such as characters wandering off alone.[82] Kehr did not like that the men did not band together against the Thing, and several reviews noted a lack of camaraderie and romance, which Arnold said reduced any interest beyond the special effects.[79][76][81]

text: The film's special effects were simultaneously lauded and lambasted for being technically brilliant but visually repulsive and excessive.[78][83][76] Reviews called Bottin's work "genius",[78][77] noting the designs were novel, unforgettable, "colorfully horrific", and called him a "master of the macabre".[83][76] Arnold said that the "chest chomp" scene demonstrated "appalling creativity" and the subsequent severed head scene was "madly macabre", comparing them to Alien's chest burster and severed head scenes.[76] Variety called it "the most vividly gruesome horror film to ever stalk the screens".[84] Conversely, Denby called them more disgusting than frightening, and lamented that the trend of horror films to open the human body more and more bordered on obscenity,[78] Spencer said that Bottin's care and pride in his craft was shown in the effects, but both they and Schickel found them to be overwhelming and "squandered" without strong characters and story.[83][77] Even so, the New York Times's Vincent Canby said the effects were too "phony looking to be disgusting".[75] Canby and Arnold said the creature's lack of a single, discernible shape was to its detriment, and hiding it inside humans made it hard to follow. Arnold said that the 1951 version was less versatile, but easier to keep in focus.[76][75]

text: Gross and Spencer praised the film's technical achievements, particularly Cundey's "frostbitten" cinematography, the sound, editing, and Morricone's score.[80][77] Even so, Spencer was critical of Carpenter's direction, saying it was his "futile" attempt to give the audience what he thinks they want. Spencer said that Carpenter was not meant to direct science-fiction, but was instead suited to direct "traffic accidents, train wrecks, and public floggings".[77] Ansen said that "atrocity for atrocities sake" was ill-becoming of Carpenter.[79]

text: The Thing was often compared to similar films, particularly Alien, Invasion of the Body Snatchers (1978), and The Thing from Another World.[82][78][75] Ebert and Denby said that The Thing seemed derivative compared to those films, which they said had portrayed the story in a better way.[82][78] Variety called it inferior to the 1951 version.[84] Arnold considered The Thing as the end result of Alien raising the requirement for horrific spectacle.[76]

text: The Thing from Another World actor Kenneth Tobey and director Christian Nyby also criticized the film. Nyby said "If you want blood, go to the slaughterhouse ... All in all, it’s a terrific commercial for J&B Scotch".[30] Tobey singled out the visual effects, saying they "were so explicit that they actually destroyed how you were supposed to feel about the characters ... They became almost a movie in themselves, and were a little too horrifying."[1] In his book Science Fiction (1984), Phil Hardy described the film as a "surprising failure" and called it "Carpenter's most unsatisfying film to date".[85] The review noted that the narrative "seems little more than an excuse for the various set-pieces of special effects and Russell's hero is no more than a cypher compared to Tobey's rounded character in Howard Hawks' The Thing".[85] Clennon said introductory scenes for the characters omitted from the film made it hard for audiences to connect with them, robbing it of some of the broader appeal of Alien.[25]

text: Accolades[edit]

text: The Thing received nominations from the Academy of Science Fiction, Fantasy and Horror Films for Best Horror Film and Best Special Effects,[86] but lost to Poltergeist and E.T. the Extra-Terrestrial, respectively.[87] The film was nominated in the Razzie Awards for Worst Musical Score.[88]

text: Post release[edit]

text: Aftermath[edit]

text: The impact on Carpenter was immediate — he lost the job directing the 1984 science fiction horror film Firestarter because of The Thing's poor performance.[89] His previous success had gained him a multiple-film contract at Universal, but the studio opted to buy him out of it instead.[90] He continued making films afterwards but lost confidence, and did not openly talk about The Thing's failure until a 1985 interview with Starlog, where he said "I was called 'a pornographer of violence' ... I had no idea it would be received that way ... The Thing was just too strong for that time. I knew it was going to be strong, but I didn't think it would be too strong ... I didn't take the public's taste into consideration."[1] Shortly after its release, Wilbur Stark sued Universal for $43 million for "slander, breach of contract, fraud and deceit" alleging he incurred a financial loss by Universal failing to credit him properly in its marketing, and by showing his name during the end credits, a less prestigious position.[4] Stark also said that he "contributed greatly to the [screenplay]".[91] Producer David Foster responded that Stark was not involved with the film's production in any way, and received proper credit in all materials.[5] Stark later sued for a further $15 million over Foster's comments (the outcome of these lawsuits is unknown).[92]

text: Home media[edit]

text: While The Thing was not initially successful, it was able to find new audiences and appreciation on home video, and later on television.[93] Sidney Sheinberg edited a version of the film for network television broadcast, which added narration and a different ending, where the "Thing" imitates a dog and escapes the ruined camp. Carpenter disowned this version, and theorized that Sheinberg had been mad at him for not taking his creative ideas on board for the theatrical cut.[94][95][96]

text: The Thing was released on DVD in 1998 and featured additional content including, The Thing: Terror Takes Shape—a detailed documentary on the production, deleted and alternate scenes, and commentary by Carpenter and Russell.[97][98] An HD DVD version followed in 2006 containing the same features,[99][100] and a Blu-ray version in 2008 featuring just the Carpenter and Russell commentary, and some behind-the-scenes videos available via picture-in-picture during the film.[101][102] A 2016 Blu-ray release featured a 2K resolution restoration of the film, overseen by Dean Cundey. In addition to including previous features such as the commentary and Terror Takes Shape, it added interviews with the cast and crew, and segments that focus on the music, writing, editing, Ploog's artwork, an interview with Alan Dean Foster who wrote the film's novelization, and the TV Broadcast version of The Thing which runs 15 minutes shorter than the theatrical cut.[103] A 4K resolution restoration was released in 2017 on Blu-ray, initially as a United Kingdom exclusive with a limited run of 8000 units. The restoration was created using the original film negative, and was overseen by Carpenter and Cundey.[104]

text: MCA released the soundtrack for The Thing in 1982.[105] Varèse Sarabande re-released it in 1991 on compact disc and compact cassette.[106] These versions eventually went out of print. In 2011, Howarth and Larry Hopkins restored Morricone's score using updated digital techniques, and arranged each track in the order it appears in the film. The album also includes tracks composed by Carpenter and Howarth for the film.[107] A remastered version of the score was released on vinyl on February 23, 2017; a deluxe edition included an exclusive interview with Carpenter.[108]

text: Cinematic analysis[edit]

text: The central theme of The Thing concerns paranoia and mistrust.[109][110][111] Fundamentally, the film is about the erosion of trust in a small community,[112] instigated by different forms of paranoia caused by the possibility of someone not being who they say they are, or that your best friend may be your enemy.[113][111] It represents the distrust that humans always have for somebody else and the fear of betrayal by those we know and ultimately our bodies.[111] The theme remains timely because the subject of paranoia adapts to the age. The Thing focuses on being unable to trust one's peers, but this can be interpreted as distrust of entire institutions.[114]

text: Developed in an era of cold war tensions between the United States and the Soviet Union, the film refers to the threat of nuclear annihilation by mutually assured destruction. Diabolique's Daniel Clarkson Fisher notes that MacReady destroys the chess computer after being checkmated, and similarly vows to destroy the Thing, even at the expense of the team.[115] The cold war-style isolationism hurts the group, while a lack of trust destroys it. Screen Rant's Michael Edward Taylor draws allusions between The Thing and the accusatory Red Scares and McCarthyism, as the film conveys an anti-communist fear of infection of civilized areas that will lead to assimilation and imitation.[110][115] Slant Magazine's John Lingsan said the men display a level of post-Vietnam war (1955-1975) "fatigued counterculturalism"—the rejection of conventional social norms, each defined by their own eccentricities.[112]

text: Lancaster's script eschews female characters because he believed that a female character was a love interest who inevitably gets in the way. The Atlantic's Noah Berlatsky said that unlike typical horror genre films, females are excluded, allowing the Thing to be identified as a fear of not being a man, or being homosexual. Indeed, several assimilations involve penetration, tentacles, and in Norris' case, opened up at the stomach to birth his own replica. The slasher genre favors female stars as they are perceived as weaker and therefore more empathetic, providing a cathartic release when they defeat the villain, but in The Thing the men are not meant to survive.[109] Vice's Patrick Marlborough considered The Thing to be a critical take on masculinity. Identifying the "Thing" requires intimacy, confession, and empathy to out the creature but masculinity prevents this as an option. Trapped by pride and stunted emotional growth, the men are unable to confront the truth out of fear of embarrassment or exposure.[114] Berlatsky noted that MacReady avoids emotional attachments and is the most paranoid, allowing him to be the hero. This detachment works against him in the finale, which leaves MacReady locked in a futile mistrust with Childs, each not really knowing the other.[109]

text: Nerdist's Kyle Anderson and Strange Horizons' Orrin Grey analyzed The Thing as an example of author H. P. Lovecraft's cosmic horror, the notion that ancient, inhuman beings exist that do not care about humanity in any way. This also includes the fear of losing one's humanity, and being consumed, figuratively or literally, by these ancient eldritch behemoths. The Thing is a being beyond our understanding and possesses the ability to destroy all life on Earth quickly. Like how Lovecraft left his creatures undescribed, the Thing can be seen, but its shape is mostly indescribable, being beyond the realm of human knowledge.[116] Grey said that MacReady represents a more traditional Hollywood film protagonist, but Blair represents the Lovecraftian protagonist, who succumbs to his fear of the creature, is driven insane by the implications of its nature, and eventually becomes what he fears.[116][117]

text: The Thing never speaks or gives a motive for its actions, and just ruthlessly pursues its goal.[118] Grey describes the creature as fear of the loss of self. It attacks, consumes and imitates an individual perfectly with memories and behaviors. The original is subsumed by an alien copy that is virtually impossible to identify.[117] Den of Geek!'s Mark Harrison and Ryan Lambie said that the essence of humanity is free will, which is stripped away by the Thing, possibly without the individual being aware that they have been taken over.[119][120] In a 1982 interview, when given the option to describe The Thing as "pro-science" as Who Goes There? or "anti-science" like The Thing from Another World, Carpenter chose "pro-human". He said: "It's better to be a human being than an imitation, or let ourselves be taken over by this creature who's not necessarily evil, but whose nature it is to simply imitate, like a chameleon."[59] Further allusions have been drawn between the blood test scene and the epidemic of HIV at the time, which could only be identified by a blood test.[23][121]

text: Legacy[edit]

text: Critical reassessment[edit]

text: In the years following its release, critics and fans have reevaluated The Thing as a milestone of the horror genre.[25] A prescient review by Peter Nicholls in 1992, called The Thing "a black, memorable film [which] may yet be seen as a classic".[122] It has been called one of, if not the best film directed by Carpenter.[123][124][125] John Kenneth Muir called it "Carpenter's most accomplished and underrated directorial effort,"[126] and critic Matt Zoller Seitz said it "is one of the greatest and most elegantly constructed B-movies ever made".[127]

text: Trace Thurman described it as one of the best films ever,[128] and in 2008, Empire magazine selected it as one of The 500 Greatest Movies of All Time,[129] calling it "a peerless masterpiece of relentless suspense, retina-wrecking visual excess and outright, nihilistic terror".[44] It is now considered to be one of the greatest horror films ever made,[126][130] and a classic of the genre.[131] Several publications have called it one of the best films of 1982, including Filmsite.org,[132] Film.com,[133] and Entertainment Weekly.[134] Muir called it "the best science fiction-horror film of 1982, an incredibly competitive year, and perhaps even the best genre motion picture of the decade".[126] Complex named it the ninth best of the decade, calling it the "greatest genre remake of all time".[135] Numerous publications have ranked it as one of the best science fiction films, including: number four by IGN (2016);[136] number 12 by Thrillist (2018);[137] number 17 by GamesRadar+ (2018);[138] number 32 by Esquire (2015) and Popular Mechanics (2017);[139][140] and number 76 by Rotten Tomatoes (2017) based on its average review score.[141]

text: Similarly, The Thing has appeared on several lists of the top horror films, including: number one by The Boston Globe;[130] number two by Bloody Disgusting (2018);[142] number four by Empire (2016);[143] and number six by Time Out (2016).[144] Empire listed its poster as the 43rd best film poster ever.[61] In 2016, the British Film Institute named it one of ten great films about aliens visiting Earth.[145] It was voted the ninth best horror film of all time in a Rolling Stone readers poll,[131] and is considered one of the best examples of body horror.[146][147][148][149] Contemporary review aggregation website Rotten Tomatoes offers an 83% approval rating from 59 critics—an average rating of 7.4 out of 10, which provides the consensus, "Grimmer and more terrifying than the 1950s take, John Carpenter's The Thing is a tense sci-fi thriller rife with compelling tension and some remarkable make-up effects."[150] The film also has a score of 57 out of 100 on Metacritic based on 13 critical reviews indicating "mixed or average reviews".[151]

text: In a 2011 interview, Carpenter remarked that it was close to, if not his favorite film from his own filmography. He lamented that it took a long time for The Thing to find a wider audience, saying "If The Thing had been a hit, my career would have been different. I wouldn't have had to make the choices that I made. But I needed a job. I'm not saying I hate the movies I did. I loved making Christine (1983) and Starman (1984) and Big Trouble In Little China (1986), all those films. But my career would have been different."[152]

text: Cultural impact[edit]

text: The film has had a significant impact on popular culture,[128] and by 1998, The Thing was already considered a cult classic.[134][44] It has been referenced in a variety of media from television (including Stranger Things, The X-Files, and Futurama), to video games (Resident Evil 4, and Tomb Raider III), and films (The Faculty (1998), Slither (2006), The Mist (2007)).[128] It is listed in the film reference book 1001 Movies You Must See Before You Die, which says "one of the most influential horror movies of the 1980s, much imitated but rarely bettered... It is one of the first films to unflinchingly show the rupture and warp of flesh and bone into grotesque tableaus of surreal beauty, forever raising the bar of cinematic horror."[153]

text: Several filmmakers have spoken of their appreciation for The Thing or cited its influence on their own work, including Guillermo del Toro,[154] James DeMonaco,[155] J.J. Abrams,[156] Neill Blomkamp ,[157] David Robert Mitchell,[158] Rob Hardy,[159] Steven S. DeKnight,[160] and Quentin Tarantino.[161] In 2011, The New York Times asked prominent horror filmmakers what film they had found the scariest. Two, John Sayles and Edgar Wright, cited The Thing.[162] The 2015 Tarantino film The Hateful Eight takes numerous cues from The Thing, from featuring Russell in a starring role, to replicating themes of paranoia and mistrust between characters restricted to a single location, and even duplicating certain angles and layouts used by Carpenter and Cundey.[161] Pieces of Morricone's unused score for The Thing were repurposed for The Hateful Eight.[50] Tarantino also cited The Thing as an inspiration for his 1992 film Reservoir Dogs.[12]

text: The film is screened annually in February to mark the beginning of winter at the Amundsen–Scott South Pole Station.[12][163] In January 2010, Clarkesworld Magazine published "The Things", a short story by Peter Watts told from the "Thing"'s point of view; it is unable to understand why humans are hostile towards it. The story received a 2011 Hugo Award nomination.[12][164] In 2017, a 400-page art book was released featuring art inspired by The Thing, with contributions from 350 artists, a foreword by director Eli Roth, and an afterword by Carpenter.[165] An excursion of fans to the filming location in Alaska is currently scheduled to take place in 2022, to celebrate the film's 40th anniversary.[166]

text: The 2007 Halloween Horror Nights event at Universal Studios in Orlando, Florida featured "The Thing: Assimilation", a haunted attraction based on the film. The attraction included MacReady and Childs, both held in stasis, the Blair-Thing and the outpost kennel.[167][168]

text: Merchandise[edit]

text: A novelization of the film was published by Alan Dean Foster in 1982.[103] It is based on an earlier draft of the script and features some differences from the finished film:[169] a scene in which MacReady, Bennings and Childs chase infected dogs out into the snow,[170] and Nauls' disappearance is explained; Cornered by the Blair-Thing, he chooses suicide over assimilation.[171]

text: In 2000, McFarlane Toys released two "Movie Maniacs" figures: the Blair-Thing[172] and the Norris-Thing, including its spider-legged, disembodied head.[173] SOTA Toys released a set featuring a MacReady figure and the dog-Thing based on the film's kennel scene,[174] and a bust of the Norris-Thing's spider-head.[175] In 2017, Mondo and the Project Raygun division of USAopoly released The Thing: Infection at Outpost 31, a board game. Players take on the role of characters from the film or the Thing, each aiming to defeat the other through subterfuge and sabotage.[176][177]

text: Sequels[edit]

text: Dark Horse Comics published four comic book sequels starring MacReady, beginning in December 1991 with the two-part The Thing from Another World by Chuck Pfarrer, which is set 24 hours after the film.[178][179] Pfarrer was reported to have pitched his comic tale to Universal as a sequel in the early 1990s.[178] This was followed by the four-part The Thing from Another World: Climate of Fear in July 1992,[180] the four-part The Thing from Another World: Eternal Vows in December 1993,[181] and The Thing from Another World: Questionable Research.[182]

text: In 1999, Carpenter said that no serious discussions had taken place for a sequel, but he would be interested in basing one on Pfarrer's adaptation, calling the story a worthy sequel.[8][178] A 2002 video game of the same name was released for Microsoft Windows, PlayStation 2, and Xbox to generally favorable reviews.[183][184] The game's plot follows a team of U.S. soldiers investigating the aftermath of the film's events.[185]

text: In 2005, the Syfy channel planned a four-hour mini-series sequel produced by Frank Darabont and written by David Leslie Johnson. The story follows a Russian team who recover the corpses of MacReady and Childs, and remnants of the "Thing". The story moves forward 23 years, where the "Thing" escapes in New Mexico, and follows the attempts at containment. The project never proceeded, and Universal opted to continue with a feature film sequel.[186] A prequel film, The Thing, was released in October 2011 to a $27.4 million worldwide box office gross and mixed reviews.[187][188][189][190] The story follows the events after the Norwegian team discovers the "Thing".[189]

text: Although released years apart, and unrelated in terms of plot, characters, crew, or even production studios, Carpenter considers The Thing to be the first installment in his "Apocalypse Trilogy", a series of films based around cosmic horror, entities unknown to man, that are threats to both human life and the sense of self. The Thing was followed by Prince of Darkness in 1987, and In the Mouth of Madness in 1995. All three films are heavily influenced by Carpenter's appreciation for the works of H. P. Lovecraft.[191][117]


document_title: Abolition of monarchy

question_text: the uprising that brought china's monarchy to an end

question_tokens: the uprising that brought china 's monarchy to an end

root

text: Abolition of monarchy

text: 17th-18th centuries[edit]

text:
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text: An early example of the abolition of a monarchy in modern times occurred in 1649 with the overthrow of the English monarchy by the Parliament of England and its armed forces under leaders such as Oliver Cromwell. 1660 saw a monarchical restoration - though in a more limited form moderated by a more independent Parliament.

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text: Anti-monarchism in the United States developed out of the gradual process of revolution that began as early as 1765, as colonists resisted the Stamp Act through boycott and the expulsion and condemnation of royal officials.[citation needed] While subjects of Great Britain (a union of the Kingdom of England with the Kingdom of Scotland), the colonists of British North America enjoyed a level of autonomy which increasingly clashed with royal and Parliamentary authority which did not consult colonial needs. With the Declaration of Independence in 1776, the most violent wave of anti-monarchical protest began, with the systematic destruction of the relics and symbols of monarchy. Examples can be found in the toppling of the equestrian statue of George III on Bowling Green in New York City (9 July 1776). Monarchic loyalists were particularly affected by partisan attacks or harassment, with tens of thousands leaving for Canada, Britain, and other colonies.[1] Wealth or property which remained was typically confiscated.[by whom?] Thomas Paine, the famous author of the revolutionary pamphlet "Common Sense", urged the colonists to finance the revolutionary war through this means. Even today, very few artifacts depicting the British monarchy from the colonial period can be found in the United States. However, not all anti-British or anti-Loyalist sentiment equated to anti-monarchism. The normalcy of having a King at the head of a polity had strong roots in much political thought (Machiavelli, Hobbes) and in religious doctrine (see for example 1 Samuel 8:6-9.[2] Some Americans saw the presidency in monarchical terms.[3]

text: However, the most famous abolition of monarchy in history[citation needed] - apart from the Dutch Republic of 1581 to 1795 - involved the French monarchy in 1792, during the French Revolution. The French monarchy was later restored several times with differing levels of authority. Napoleon, initially a hero of the Republican revolution, crowned himself emperor in 1804 only to be replaced by the Bourbon Restoration in 1815 which in turn was replaced by the more liberal July Monarchy in 1830.

text: The 1848 Revolution was a more clear anti-monarchic uprising that replaced the succession of royal leaders with the short-lived Second French Republic. Louis Napoleon Bonaparte established the Second French Empire (1852 to 1870), retaining republican aspects while placing himself in the center of the state until the losses in the Franco-Prussian War precipitated his fall, resulting in the French Third Republic and the definitive end of monarchism in the governing of France.

text: 19th century[edit]

text: In 1858 the Mughal Empire came to an end after losing a war against Britain, and its Emperor, Bahadur Shah II, lost his throne. Between 1859 and 1861, four monarchies in Southern Europe ceased to exist: Parma, Modena, Tuscany and the Two Sicilies, when they all became part of the new Kingdom of Italy. The Second Mexican Empire collapsed in 1867, and its Emperor, Maximilian I of Mexico, was executed. The Second French Empire came to an end in 1870 after it had lost the war against Prussia, causing Emperor Napoleon III to lose his throne. He was the last monarch of France.

text: In Spain monarchy was abolished from 1873 to 1874 by the First Spanish Republic, but then restored until 1931. The monarchy of Tahiti came to an end in 1880 when France made it a colony and overthrew King Pōmare V. That of Burma was abolished in 1885, when the last king, Thibaw Min, lost his throne and the country was annexed by Britain. In Brazil, the monarchy was abolished in 1889, when Emperor Pedro II was overthrown by a republican military coup (the status of the republic was fully confirmed by a plebiscite in 1993 that resulted in 66% of the votes to the republican government). In 1893 foreign business leaders overthrew Queen Liliʻuokalani of the Kingdom of Hawaii. They established a republic, which was annexed by the United States in 1898. The monarchy of Madagascar, known as the Merina Kingdom, came to an end in 1897 when France made it a colony and overthrew Queen Ranavalona III.

text: 20th century[edit]

text:
European states in 1914.[4]
  Monarchies (22)
  Republics (4)

European states in 1930.[5]
  Monarchies (20)
  Republics (15)

Present-day European states.
  Monarchies (12)
  Republics (32)

text: In 1910 the last emperor of Korea, Sunjong, lost his throne when the country was annexed by Japan. However, the Korean royal family was mediatised as a puppet family within the Japanese imperial family. Many of the Korean royals were forcibly re-educated in Japan and forced to marry Japanese royalty and aristocrats to meld the ruling families of the two empires. With the abolition of the Japanese aristocracy and cadet branches of the imperial family, the Korean royals officially lost their remaining status.[citation needed]

text: The monarchy of Portugal was also overthrown in 1910 (5 October), two years after the assassination of King Carlos I, ending the reign of Manuel II, who died in exile in England (1932), without issue.

text: The ancient monarchy of China ceased to exist in 1912 after the revolution of Sun Yat-sen overthrew Emperor Puyi. General Yuan Shikai, then provisional president, unsuccessfully tried to make himself a monarch in 1915.

text: World War I led to perhaps the greatest spate of abolition of monarchies in history. The conditions inside Russia and the poor performance in the war gave rise to a revolution which toppled the entire institution of the monarchy, followed by a second revolution against that government in October of the same year that executed Emperor Nicholas II and implemented a Marxist-Leninist government. The defeated German, Austro-Hungarian and Ottoman empires saw the abolition of their monarchies in the close aftermath of the war, ending the reigns of Wilhelm II, Charles I and Mehmed VI respectively. The monarchs of the constituent states within the German Empire, most importantly Ludwig III of Bavaria, Frederick Augustus III of Saxony and Wilhelm II of Württemberg, soon abdicated. During the war, monarchies were planned for the Grand Duchy of Finland (to have a Finnish King), and for Lithuania (Mindaugas II of Lithuania), with a protectorate-like dependency of Germany. Both intended kings renounced their thrones after Germany's defeat in November 1918. King Nicholas I of Montenegro lost his throne when the country became a part of Yugoslavia in 1918.

text:
Part of a series on

Orders of succession

Former monarchies

Afghanistan
Albania
Anhalt
Austria-Hungary
Baden
Bavaria
Bharatpur
Bhopal
Brazil
Bulgaria
China
Dungarpur
Egypt
France

Bonapartist
Legitimist
Orléanist / Unionist

Georgia
Germany
Greece
Hanover
Hesse
Hyderabad
Idar
Iran / Persia
Iraq
Italy
Jammu and Kashmir
Jodhpur
Kapurthala
Kutch
Mecklenburg
Mexico
Montenegro
Nepal
Oldenburg
Ottoman
Parma
Portugal
Rajpipla
Rampur
Romania
Russia
Saxonya
Travancore
Tunisia
Two Sicilies
Vadodara (Baroda)
Waldeck and Pyrmont
Württemberg
Yugoslavia

a Kingdom / Grand Duchy / Duchies.

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text: After the death of the last Emperor, Bogd Khan, in 1924, Mongolia became a republic. In Spain the monarchy was again abolished in 1931 by the Second Spanish Republic (1931–1939). In 1947, General Franco declared Spain a realm, and appointed Juan Carlos of Bourbon his successor in 1969. The Prince of Spain became king at Franco's death in 1975, and constitutional monarchy was restored in 1978 under him.

text: World War II saw another spate of abolitions. In 1939 Italy invaded Albania and removed the reigning self-proclaimed King Zog and instated their own King Victor Emmanuel III as its new monarch. Italy, along with the eastern European monarchies of Bulgaria, Hungary and Romania joined with Germany in World War II against the Kingdom of Yugoslavia, the Western allies and the Soviet Union. As the Axis powers came to a defeat in the war, communist partisans in occupied Yugoslavia and occupied Albania seized power and ended the monarchies. Communists in Bulgaria, Hungary and Romania removed their monarchies with strong backing by the Soviet Union, which had many troops and supporters placed there during the course of the war. Through this, Peter II of Yugoslavia, Simeon II of Bulgaria and Michael I of Romania all lost their thrones. King Victor Emmanuel III of Italy had switched sides during the war in favour of the western allies, but a referendum in 1946 ended the short reign of his son King Umberto II and the Italian monarchy ceased to exist. A unique result of the war was that Emperor Hirohito of Japan, who had held a debated but important role in Japan's warfare against the Allied powers, was reduced in stature from a divine monarch to a figurehead by the occupying United States, instead of losing his throne altogether.

text: Throughout Greece's eventful modern history, the monarchy was toppled and restored several times between and after the two World Wars. The last king, Constantine II, was forced into exile after a coup in 1967 and the republic was proclaimed in 1973 by the then ruling military dictatorship. Final abolition of the monarchy was confirmed overwhelmingly after constitutional legality was restored, by free referendum in 1974.

text: The independence of the Indian subcontinent from direct British rule in 1947 posed a unique problem. From 1858, when the British government had assumed direct rule over the subcontinent, it had been governed as a quasi-federation, with most of the subcontinent (known as British India), under the direct rule of the British sovereign. The remainder of the subcontinent, however, was under a form of indirect rule through its division and subdivision into over 500 subnational monarchies, known as princely states; each was ruled by a prince in a subsidiary alliance with the British government. The princely states ranged from powerful and largely independent principalities such as Hyderabad or Mysore, with a high level of autonomy, to tiny fiefdoms a few dozen acres in size. The resulting imperial structure was broadly similar to that of the German Empire before the First World War.

text: In 1947, it was agreed the Indian subcontinent would be partitioned into the independent British dominions of India and Pakistan, with the princely states acceding to one nation or the other. The accession process proceeded smoothly, with the notable exception of four of the most influential principalities. The Muslim ruler of the Hindu-majority state of Junagadh ruler acceded to Pakistan, but his decision was overruled by the Indian government, while Hyderabad chose to be independent, but was forcibly annexed to India in 1948. The Hindu ruler of Jammu and Kashmir, among the largest and most powerful of the principalities, but with a Muslim-majority population, initially held off on a decision. In the autumn of 1947, an invading force from Pakistan frightened the ruler into acceding to India. The ruler of Kalat, in Baluchistan, declared his independence in 1947, after which the state was forcibly merged with Pakistan, resulting in an insurgency persisting to this day. With the promulgation of the Indian constitution in 1950, India abolished its monarchy under the British crown and became a republic within the Commonwealth of Nations, followed by Pakistan in 1956; as a result of both developments, the majority of the princes formally lost their sovereign rights. A few remaining principalities in Pakistan retained their autonomy until 1969, when they finally acceded to Pakistan. The Indian government formally derecognised its princely families in 1971, followed by Pakistan in 1972.

text: Many monarchies were abolished in the middle of the 20th century or later as part of the process of decolonisation. The monarchies of India, Ghana, Nigeria, Kenya, Tanganyika, Uganda, Guyana, and Malawi were abolished shortly after they became independent of the United Kingdom, while remaining within the Commonwealth. That of Ireland was not abolished when Ireland became independent of the United Kingdom in the 1920s, but by the Republic of Ireland Act of 1948, which came into force in 1949. Some Commonwealth realms waited a little longer before abolishing their monarchies: Pakistan became a republic in 1956 and South Africa in 1961. Gambia abolished its monarchy in 1970, while Sierra Leone became a republic in 1971, as did Sri Lanka in 1972, Malta in 1974, Trinidad and Tobago in 1976, and Fiji in 1987. The latest country to become a republic within the Commonwealth was Mauritius in 1992.

text: That of Egypt was abolished in 1953, after the revolution of 1952, which caused King Farouk I to abdicate in favour of his infant son Fuad II. The monarchy of Tunisia ended in 1957 when Muhammad VIII al-Amin lost his throne and that of Iraq in 1958 when King Faisal II was killed and a republic proclaimed. The monarchy of Yemen was abolished in 1962 when King Muhammad al-Shami was overthrown in a coup, although he continued to resist his opponents until 1970. King Idris of Libya was overthrown by a military coup led by Muammar Gaddafi in 1969. The monarchy of Afghanistan was abolished in 1973 after a coup d'état overthrew King Mohammed Zahir Shah. That of Iran was abolished by the Islamic revolution of 1979 overthrowing Mohammad Reza Pahlavi. In Ethiopia, Emperor Haile Selassie I was overthrown in 1974 as a result of a leftist coup. King Palden Thondup Namgyal of Sikkim lost his throne in 1975 when the country became a state of India following a referendum. Political upheaval and Communist insurrection put an end to the monarchies of Indochina after World War II: a short-lived attempt to leave a monarchical form of government in post-colonial South Vietnam came to naught in 1955, a military coup overthrew the kingless monarchy in Cambodia in 1970 and a Communist takeover ended the monarchy in Laos in 1975. Cambodia's monarchy later saw an unexpected rebirth under an internationally mediated peace settlement with former king Norodom Sihanouk being restored as a figurehead in 1993.

text: In a referendum in Brazil in 1993, voters rejected an attempt to restore the country's monarchy. Unsuccessful efforts to restore the monarchies of some of the Balkan states in the former Eastern Bloc continue. Former King Michael of Romania and Prince Alexander of Serbia have been allowed to return, gained some popularity, played largely apolitical public roles, but never came close to being restored to their ancestral thrones. However, in Bulgaria, Simeon Saxe-Coburg-Gotha, who was deposed from the Bulgarian throne in 1946, was elected and recently served as the Prime Minister of his country from 2001 to 2005. The only formerly socialist country to have held a referendum on the monarchy was Albania where the claimant to his father's throne, the self-styled Leka I, lost by a huge margin.

text: In a 1999 referendum, the voters of Australia rejected a proposal to abolish their monarchy in favour of a specific republican model. The proposal was rejected in all states, with only the Australian Capital Territory voting in favour.

text: Monarchies abolished in the 20th–21st centuries[edit]

text:
Country

Last monarch

Year

Annotations

1900s

Dendi
Askia Malla
1901
Ousted by French, the country became a part of French West Africa.

Ashanti
Prempeh I
1902
Ousted by British, the country became a part of Gold Coast (British colony).

Oyo
Adeyemi I Alowolodu
1905
Last monarch died, the country became a part of British Southern Nigeria Protectorate.

Mwali

1909
The country was incorporated into French Third Republic.

1910s

Portugal
Manuel II
1910
Republican Coup d'État.

Korea
Sunjong
Native monarchy abolished; replaced by rule by Japan, a monarchy, through 1945.

Angoche

Ousted by Portuguese, the country was incorporated into Portugal.

Nri
Eze Nri Òbalíke
1911
Ousted by British, the country became a part of Southern Nigeria Protectorate.

Kasanje

The country was incorporated into Portuguese West Africa.

China
Xuantong
1912
Xinhai Revolution – Emperor ousted by warlords and republicans.

Ndzuwani
Saidi Mohamed bin Saidi Omar
The country was incorporated into French Third Republic.

Kongo
Manuel III
1914
Position abolished by Portuguese after an unsuccessful revolt.

Sultanate of Sulu
Sultan Jamalul-Kiram II
1915
Split into American Insular Government over the Philippine islands, British North Borneo and the Dutch East Indies.

Darfur
Ali Dinar
1916
Darfur formally re-incorporated into Anglo-Egyptian Sudan.

China
Hongxian
Monarchy dropped, shortly after the outbreak of the National Protection War.

Russia
Nicholas II
1917
Russian Revolution of 1917.

Finland
Finnish Declaration of Independence.

Montenegro
Nicholas I
1918
Referendum deposed King and united Montenegro with Serbia.

Germany
William II
All on account of German defeat in World War I and the following German Revolution.

Prussia

Bavaria
Ludwig III

Württemberg
William II

Saxony
Frederick Augustus III

Hesse
Ernest Louis

Baden
Frederick II

Saxe-Weimar-Eisenach
William Ernest

Mecklenburg-Schwerin
Frederick Francis IV

Mecklenburg-Strelitz
Adolphus Frederick VI

Oldenburg
Frederick Augustus II

Brunswick
Ernst Augustus

Anhalt
Joachim Ernst

Saxe-Coburg and Gotha
Charles Edward

Saxe-Meiningen
Bernhard III

Saxe-Altenburg
Ernst II

Waldeck-Pyrmont
Friedrich

Lippe
Leopold IV

Schaumburg-Lippe
Adolf II

Schwarzburg-Rudolstadt
Günther Victor

Schwarzburg-Sondershausen

Reuss Elder Line
Heinrich XXIV

Reuss Younger Line
Heinrich XXVII

Austria
Charles I
Charles I "renounced participation" in state affairs, but did not abdicate. Monarchy officially abolished by the Treaty of Saint-Germain-en-Laye, on 10 September 1919.

Finland
Frederick Charles I
Monarchy never in effect.

Lithuania
Mindaugas II

Poland
Ruled by Regency Council

Hungary
Charles IV
Monarchy restored in 1920, although the throne remained vacant with a Regent.

Serbia
Peter I
Country transformed to Kingdom of Serbs, Croats and Slovenes.

Ukraine
Pavlo Skoropadskyi
Removed from power, following an uprising led by Symon Petliura and the withdrawal of German forces from Kiev.

1920s

Bukhara (Uzbekistan)
Mohammed Alim Khan
1920

Khiva (Uzbekistan)
Abdallah Khan

Syria
Faisal I
Monarchy deposed, following the Siege of Damascus.

Ottoman Empire
Mehmed VI
1922
Sultanate abolished in 1922.

Wituland
Fumo `Umar ibn Ahmad
1923
Sultanate abolished by British, the country was incorporated into Kenya Colony.

Greece
George II
1924
Restored 1935 and later abolished again in 1973 (see below).

Mongolia
Bogd Khan
Communist People's Republic proclaimed after Khan's death.

Albania
William I
1925
Monarchy restored in 1928 (Albanian Kingdom).

Mohammerah
Khaz'al al-Ka'bi
1925
Sheikhdom abolished by Persia

Orungu
Rogombé-Nwèntchandi
1927
Position abolished by French.

1930s

Spain
Alfonso XIII
1931
Later restored (see below).

Jimma
Abba Jofir
1932
Ousted by Ethiopians, Jimma incorporated into Ethiopia.

Albania
Zog I
1939
Throne usurped by Victor Emmanuel III, after Italian invasion.

1940s

Albania
Victor Emmanuel III
1943
Relinquished throne after Italian armistice.

Croatia
Tomislav II
Abdicated after withdrawal of Italian support.

Iceland
Christian X
1944
Union with Denmark terminated.

Montenegro
Ruled by Governor
Monarchy abolished after takeover by Yugoslav Partisans

Yugoslavia
Peter II
1945
Communist reconstruction.

Manchukuo
Kāngdé
Merged into the Republic of China after abolition of the Empire.

Vietnam
Bảo Đại
Monarchy abolished after the Surrender of Japan.

Hungary
Miklós Horthy as Regent
1946
Decision of the parliament without a referendum.

Italy
Umberto II
Referendum; official result: 54.3% in favour of republic.

Bulgaria
Simeon II
Referendum held to decide whether the monarchy would be retained; results falsified by the communist government: 95% in favour of republic.

Sarawak
Charles Vyner Brooke
White Rajahs hand over power to British crown.

Romania
Michael I
1947
Forced out by the communists.

Ireland
George VI
1949
Abolished the last "Monarchy of Ireland", the King of the United Kingdom.

1950s

India
George VI
1950
Abolished Commonwealth monarchy.

Mysore
HH Maharaja Sir Jayachamaraja Wodeyar
1950
The Kingdom of Mysore merged with the Republic of India in 1950

Tibet
Tenzin Gyatso
1951
Incorporated into the People's Republic of China.

Egypt
Fuad II
1953
Republic proclaimed one year after the 1952 Revolution.

Vietnam
Bảo Đại
1954
Vietnam partitioned through the Geneva Accords.

Vietnam
Bảo Đại
1955
Referendum in South Vietnam.

Pakistan
Elizabeth II
1956
Abolished Commonwealth monarchy.

Tunisia
Muhammad VIII al-Amin
1957
coup d'état

Iraq
Faisal II
1958

1960s

Ghana
Elizabeth II
1960
Abolished Commonwealth monarchy.

South Africa
1961
Abolished Commonwealth monarchy pursuant to 1960 referendum; official result: 53% in favor of republic.

Rwanda
Kigeli V
coup d'état, followed by referendum; official result: 80% in favor of abolishing monarchy.

Tanganyika
Elizabeth II
1962
Abolished Commonwealth monarchy.

Yemen
Muhammad al-Badr
coup d'état

Nigeria
Elizabeth II
1963
Abolished Commonwealth monarchy.

Uganda

Kenya
1964

Zanzibar
Jamshid bin Abdullah
Zanzibar Revolution

Burundi
Ntare V
1966
coup d'état

Malawi
Elizabeth II
Abolished Commonwealth monarchy.

Fadhli Sultanate
Nasser bin Abdullah bin Hussein bin Ahmed Alfadhli
1967
The countries were incorporated into newly created People's Republic of South Yemen.

Qu'aiti Sultanate
Ghalib II bin Awadh bin Saleh Al Qu'aiti

Sultanate of Upper Yafa
Muhammad ibn Salih Harharah

Sultanate of Lower Yafa
Mahmud ibn Aidrus Al Afifi

Muflahi Sheikhdom
al Qasim ibn Abd ar Rahman

Audhali Sultanate
Salih ibn al Husayn ibn Jabil Al Audhali

Emirate of Beihan
Saleh al Hussein Al Habieli

Dathina Sheikhdom

Emirate of Dhala
Shafaul ibn Ali Shaif Al Amiri

Wahidi Sultanate of Balhaf

Sheikhdom of Shaib
Yahya ibn Mutahhar al-Saqladi

Alawi Sheikhdom
Salih ibn Sayil Al Alawi

Aqrabi Sheikhdom
Mahmud ibn Muhammad Al Aqrabi

Wahidi Sultanate of Haban
Husayn ibn Abd Allah Al Wahidi

Qutaibi Sheikhdom

Hadrami Sheikhdom

Mausatta Sheikhdom

Busi Sheikhdom

Dhabi Sheikhdom

Haushabi Sultanate
Faisal bin Surur Al Haushabi

Kathiri Sultanate
Al Husayn ibn Ali

Mahra Sultanate

Sultanate of Lahej
Ali bin Abd al Karim al Abdali

Lower Aulaqi Sultanate
Nasir ibn Aidrus Al Awlaqi

Upper Aulaqi Sultanate
Awad ibn Salih Al Awlaqi

Upper Aulaqi Sheikhdom
Amir Abd Allah ibn Muhsin al Yaslami Al Aulaqi

Maldives
Muhammad Fareed Didi
1968
Independence referendum.

Libya
Idris I
1969
coup d'état

1970s

Cambodia
Norodom Sihanouk
1970
Later restored (see below).

The Gambia
Elizabeth II
1971
Abolished Commonwealth monarchy.

Guyana

Sierra Leone

Ceylon
1972
Abolished Commonwealth monarchy, state name changed into "Sri Lanka".

Afghanistan
Mohammed Zahir Shah
1973
coup d'état, later briefly restored.

Ethiopia
Haile Selassie I
1974

Greece
Constantine II
referendum; official result: 69% against monarchy

Malta
Elizabeth II
Abolished Commonwealth monarchy.

Laos
Savang Vatthana
1975
Communist takeover

Sikkim
Palden Thondup Namgyal
Referendum; official result: 97% to become a state of India.

Trinidad and Tobago
Elizabeth II
1976
Abolished Commonwealth monarchy.

Iran
Mohammad Reza Pahlavi
1979
Iranian Revolution

Central Africa
Bokassa I
coup d'état

1980s

Southern Rhodesia
Elizabeth II
1980
Abolished Commonwealth monarchy. An unrecognised government had unilaterally declared independence as Rhodesia in 1965 and proclaimed a republic in 1969; it was renamed Zimbabwe Rhodesia in 1979 but returned to United Kingdom control as Southern Rhodesia in December 1979. Southern Rhodesia subsequently gained independence as Zimbabwe.

Rwenzururu
Charles Mumbere
1982
Forced to abdicate by the government of Uganda; declaration of independence of Rwenzururu was annulled.

Fiji
Elizabeth II
1987
Abolished Commonwealth monarchy. Elizabeth II remained recognized as Paramount Chief by the Great Council of Chiefs until the council's de-establishment on 14 March 2012.

1990s

Kuwait
Jaber Al-Ahmad Al-Sabah
1990
Later restored (see below)

Mauritius
Elizabeth II
1992
Abolished Commonwealth monarchy.

2000s

Afghanistan
Mohammed Omar
2001
Deposed after the September 11 attacks. The emirate was not recognized by the United Nations.

Nepal
King Gyanendra
2008
Monarchy abolished on 28 May 2008, replaced with a secular federal republic.[6]

text: Current monarchies that were abolished and then restored[edit]

text:
Country

Year abolished

Annotations

Year restored

England, and Ireland
1649
Commonwealth of England established
1660

Spain
1873
First Spanish Republic established
1874

1931
Second Spanish Republic established, then restored in 1947 (de jure), initially under the regency of Francisco Franco
1975
(de facto)

Ankole
1967
Four traditional Ugandan monarchies abolished by government under new constitution of Milton Obote
1993

Buganda

Bunyoro

Toro

Cambodia
1970
Khmer Republic established, in 1975 it was overthrown by the Khmer Rouge and Democratic Kampuchea was established. In 1979, the People's Republic of Kampuchea was established, whose name was changed to the State of Cambodia.
1993

Rwenzururu, a part of Uganda
1982
Abolished by the government.
2009
(de facto)

Kuwait
1990
Jaber Al-Ahmad Al-Sabah was ousted from power when the Republic of Kuwait was proclaimed during the Gulf War before its subsequent annexation by Iraq. Monarchy restored after Iraq's expulsion from Kuwait.
1991