John Carpenter's Sie leben

WARNING: The author of this review loves challenging films.

They Live is based on a pulp sci-fi story about aliens who live among us and manipulate us through subliminal advertising, other mind control techniques, and sometimes, guns and bulldozers. Like most Carpenter films, its artistic, fun, intelligent and does not take itself too seriously.

As usual, Carpenter's casting is brilliant. Roddy Piper plays the good-hearted but not very bright construction worker who is both the hero and protagonist of the film. Keith David, whose character is just a little bit brighter, is his unwilling sidekick. Piper's character sees some strange goings-on in a local church, hears some weird paranoid ramblings from a street preacher, and becomes especially curious when the church is raided by 30-40 police officers and the vagrant camp where he lives is bulldozed one night. Soon after, he finds a pair of sunglasses in the now abandoned church, that literally changes his view of the world around him. The fight scene between David and Piper, while straight out of TV wrestling, is one of the most jarring and bizarre scenes in the movie - it goes on for a very long time - which nicely and subtly points out its significance in moving the plot forward. When Piper finally gets the sunglasses on David's face, he is vindicated and the last shred of doubt about his sanity disappears. From that point forward, they are both committed to saving the world from the alien menace. Further description of the plot would approach a spoiler so I won't go any further.

Both of the main characters succeed in dominating the screen, to the point that it is hard to even notice the contributions of the rest of the cast. Both actors are surprisingly good, though understandably typecast (these are, after all, two very big guys) but - who the hell is Keith David? look him up here on IMDb.com and I'm sure you'll be as surprised at I was. He's quite an accomplished character actor.

Raymond St Jacques, for all of his five or so minutes of screen time, makes a lasting impression, and Meg Foster is perfect for her ambiguity. Overall, the character development in this film is quite excellent despite the difficulty of pulling it off in a decidedly B sci-fi genre.

From an artistic and technical point of view, the film must be judged against Carpenter's other works. Carpenter has practically created his own film genre, and each of his films bears his mark very clearly. Carpenter's camera work is remarkable for its unremarkableness. He chooses not to use gimmicks and allows his cameras to tell the story without embellishing it. Like his version of The Thing, this technique fits very well in this film, as it helps the viewer suspend disbelief in what would otherwise seem as ludicrous as an episode of the X-Files.

Carpenter often makes his own soundtracks. Of these, the soundtrack for this film is very good, but terribly repetitive and, after a while, a bit grating. Nevertheless, its goofy redundancy helps to lend a comic edge to the film.

Is there a point?

I would argue that there is. Carpenter is always more interested in fun than poignancy, but he doesn't shy away from recognizing the value of the material he brings to the screen. Of all of his films, They Live is one of the most overtly political - as it carries some very clever messages about capitalism, conformity, poverty and the horror that everyday life can be for some people. This is all done, however, with a good sense of humor and an almost teenage sense of rebelliousness, all very typically Carpenter.

A great film for B-movie fans, intelligent sci-fi fans and those who enjoy film as an art form.

A fun film with a serious message.

More relevant now with 'social media' than ever.

If only more people would put the glasses on.

I have to say something here. This movie is actually very good. It was a mixture of sci-fi and political and sociological imagery. I thought the fact that the turncoat working with the aliens that were brainwashing the public was employed in the media was a brilliant way of showing how the media moguls consider us to be sheeple and use their power to persuade any way they see fit. This movie was actually quite well down, considering it did not have a blockbuster budget.

I would rather watch this than waste my time on the Matrix, which I think is a complete waste of time. The main plot of the movie was Nada discovering a worldwide conspiracy that used subliminal messages to "herd the sheep". Is this not a metaphor of what we see ever day? The media, commercials, billboards, etc, use subliminal messaging to encourage the actions of the public at large.

John Carpenter did a wonderful job. Roddy Piper's acting abilities were definitely above average, which is a lot more that I will ever to be able to say about anything Keanu Reeves has ever done. As usual, Keith David turned in a great performance. The reason this a cult classic is because it is a very good movie that requires the watcher to think.

John Nada (Roddy Piper) comes to L.A. to search for a Job. On the same working place, when he finds a job. John meets Frank (Keith David), Frank asks John to come along. Where Frank stays with poor people and a place to rest. Once he gets there, John watches television and sees some subliminal reporting by a scientist. The scientist is trying to get an important message on television by using frequency. John knows, there is something unusual going on at a house nearby. After a small band of cops are beating these poor people trying to find, where does that frequency is coming from. The next day, John goes to the house nearby and he finds one thing an open box. That box was hidden in the wall and when John open that box. He finds nothing but sunglasses. When he takes one of them, John sees a whole different world. A Bizarre look of L.A. in black & white with images full of subliminal advertising messages are visible though special glasses. Then he notice the only purpose of these glasses are the civilians are mixed with aliens population amongst them!

Directed by John Carpenter (Assault on Precient 13, Ghosts of Mars, The Thing-1982) made a extremely well made film mixed with action/sci-fi elements and a refreshing scene of humor. Piper is good here, he has some memorable scenes with some funny dialogue. The film's best line from Piper is "I come here to chew bubble gum and kick ass but i'm all out of bubble gum". There is also an unforgettable scene with Piper and David, when Piper asks David to put the glasses on. When David refuses to put them on. Piper and David get into a very funny fistfight scene that turned into a classic scene. The film might have a few flaws, only depending a matter of personal taste. The Alien Make-Up effects are extremely awful but intentionally funny. The film ends with a great pay-off. The film is hilarious at times and always fun to watch. Since this film like most Carpenter's works become a Cult Classic.

DVD has an sharp anamorphic Widescreen (2.35:1) transfer and an good-Dolby Surround 2.0 Sound. Too Bad, Universal didn't release a Special Edition of this landmark independent film. The DVD from Europe, Carpenter and Piper recorded an running commentary track for this film in a two disc special edition. When in the U.S. get out Special Edition ? DVD doesn't have no features. This is a amusing satiric sci-fi adventure. Underrated to be sure, the film ages well despite awful alien make-up. Based on a Short Story by Ray Faraday Nelson titled "Three O'Clock in the Morning". Screenwriter "Frank Armitage" is actually director Carpenter. Panavision. (****/*****).

There's a world that is hidden and unseen, that manipulates although it's all been screened, imperceptibly subtle, will direct your every shuffle, it's a greedy and insatiable machine. All governed by those in the know, through foundations set down long ago, you're oblivious to it, though you support and pay forfeit, provide the toil, that helps it to grow. On occasion, it might let you join, to ensure there's a good flow of coin, keep up the façade, as they cheat and defraud, and continue their legal purloin.

Still a wonderful piece of observational filmmaking that seems to have grown more relevant, in more parts of the planet, as the years have regressed.