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When dealing with a five decade multi-film phenomenon, it pays to go back
to where it all started. In the
case of the Body Snatchers movie saga, that start was director Don Siegel’s
1956 INVASION OF THE BODY SNATCHERS. It’s
an acknowledged classic, even though (in my view) it isn’t the best film of
the cycle.
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The concept of malevolent aliens taking over human bodies was utilized in many
classic sci fi novels, most notably John W. Campbell’s WHO GOES THERE?
(1938), Robert Heinlein’s THE PUPPET MASTERS (1951) and Jack Finney’s THE
BODY SNATCHERS (1955). Body
snatching held a particular appeal during the 1950s, as it could be made to
stand for the apparent Communist infiltration of America (which was how
Heinlein saw it) or the spread of McCarthyism, which many commentators claim
was the late Don Siegel’s intent in this film adapted from Finney’s
tale...although the filmmaker himself always denied that.
Siegel of course was a longtime master of tough, efficient thrillers,
whose thirty year-plus career gave us classics like THE KILLERS (1964), THE
BEGUILED (1971), DIRTY HARRY (1971) and CHARLEY VARRICK (1973).
INVASION OF THE BODY SNATCHERS, starring Kevin McCarthy and Dana Winter, is a
quintessentially fifties product, but has endured nonetheless.
It’s inspired countless imitations and three honest-to-goodness
remakes, the first by director Philip Kaufman in 1978 (in my view the best of
the BODY SNATCHERS flicks), the second by Abel Ferrara in 1993 and the latest
by Oliver Hirschbiegel in 2007. (WHO
GOES THERE? and THE PUPPET MASTERS have inspired their own respective film
cycles, though neither is as extensive as the BODY SNATCHERS series).
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A raving man is admitted to a psychiatric hospital one night.
The nut turns out to be Miles Bennell, a once-respected doctor from the
sleepy California town of Santa Mira. Bennell
relates the bizarre tale of how he came to be in his current predicament: a few
days earlier several of his patients claimed that beloved relatives
“weren’t themselves”. Bennell
disbelieved the claims and tried to reassure the patients (by administering
drugs!).
In the first of many inexplicable events, Bennell is called to a local bar to
examine a cadaver without facial features or fingerprints.
After Bennell leaves the body forms itself into a replica of one of the
town’s citizens. Later that
night Bennell discovers another suspicious cadaver...with the guise of his own
wife!
The next weird occurrence takes place in a greenhouse, where Bennel discovers
several large pods that break open to discharge malignant goo that forms into
human bodies, including one identical to Bennell himself.
He comes to realize the truth of what’s happening: beings from outer
space are taking over the minds and bodies of Santa Mira’s residents while
they sleep! To escape them Bennell
and his wife will have to stay awake as long as possible, and behave like
emotionless drones so as not to stand out in the now completely alien-infested
town.
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A classic this film may be, but that doesn’t mean it’s without flaws.
The superfluous wraparound segments are foremost among the irritations,
with the main character telling his story to psychiatrists (which makes little
sense considering he spends large portions of the film offscreen), which were
apparently forced on Siegel by studio executives.
There’s also the fact that the narrative relies far too much on
coincidence and happenstance: nearly every major plot development is relayed
simply by having protagonist turn up in the right place at the right time.
And the overall pacing is a bit off--in contrast to most fifties fare,
it’s too fast.
Don Siegel began his career as an editor, and this 80-minute picture
reflects that fact with its wildly pared-down, almost montage-like cutting.
But the film has endured for a reason--several reasons, actually.
For starters, it has fine, noirish visuals; notice the way the camera
angles and shadowy lighting grow increasingly baroque as the horror increases.
This was very much a “B” Picture, but has the look and feel of an
A-movie. There’s also Kevin
McCarthy in the lead role, whose descent into hysteria is unforgettably
portrayed. Quite simply, there are
very few performers alive or dead who can match McCarthy’s ability to act
crazy onscreen (check out his turn as a virtual living cartoon in the Joe Dante
segment of TWILIGHT ZONE: THE MOVIE, easily one of the best things about that
uneven project).
INVASION OF THE BODY SNATCHERS will also hold a special place for fifties movie
buffs due to its climax, which takes place in LA’s Bronson Canyon, the
setting of countless horror/sci fi movies of the time.
This sequence is topped by the unforgettable sight of McCarthy in the
middle of a crowded freeway raving to drivers about the coming menace, which
originally ended the film--and if you ask me still should!
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INVASION
OF THE BODY SNATCHERS
Republic Entertainment Inc.
Director: Don Siegel
Producer: Walter Wanger
Screenplay: Daniel Mainwaring
(Based on a novel by Jack Finney)
Cinematography: Ellsworth Fredericks
Editing: Robert S Eisen
Cast: Kevin McCarthy, Dana Wynter, Larry Gates, King Donovan, Carolyn Jones,
Jean Willes, Ralph Dumke, Virginia Christine, Tom Fadden, Kenneth Patterson,
Guy Way, Eileen Stevens, Beatrice Maude, Jean Audren, Bobby Clark, Sam
Peckinpah
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