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43 out of 46 people found the following comment useful :-
'Invasion Of The Body Snatchers' is THE 1950s paranoid SF/Horror classic!, 21 April 2003
Author: Infofreak from Perth, Australia

'Invasion Of The Body Snatcher's is my favourite 1950s science fiction movie alongside 'Forbidden Planet'. Both are very different movies. 'Forbidden Planet' is arguably the first SF blockbuster, an intergalactic adventure, in colour, with a large budget and impressive special effects. 'Invasion Of The Body Snatcher's is a smaller movie, a low budget black and white paranoid thriller that is a classic of its type. Many subsequent movies have been influenced by this one, and there have been at least two remakes (Philip Kaufman, Abel Ferrara), but it still takes some beating! Director Don Siegel is best known for tough guy crime dramas like 'The Killers' and 'Dirty Harry', but shows his versatility with this extremely effective and disturbing horror story. The legendary Sam Peckinpah had an uncredited hand in the script, and (keep an eye open for) a small cameo as a meter reader. Kevin McCarthy is terrific as the small town doctor turned hero. His performance is excellent, and made him a legend to SF and horror fans everywhere (he reprises it briefly in Kaufman's excellent 1970s remake by the way). The lovely Dana Wynter leads a strong supporting cast, and buffs will get a particular kick out of seeing Carolyn Jones (a.k.a. Morticia Addams) and Whit Bissell. ('I Was A Teenage Werewolf', 'Creature From The Black Lagoon' and too many others to mention!) This movie has aged very well, much better than say, 'The Thing From Another World', and still stands as THE 1950s paranoid SF/horror movie. An absolute classic that I guarantee still packs a punch! Highly recommended!

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40 out of 45 people found the following comment useful :-
Excellent genre film with intellectual subtexts, 1 February 2005

Author: Brandt Sponseller from New York City

Dr. Miles J. Bennell (Kevin McCarthy) is called back to his small California home early from a conference because a number of his patients have been frantically asking to see him. But oddly, when he returns home, most forget about their unspecified needs. At the same time, it seems that a mass hysteria is building where residents believe that friends and loved ones are "not themselves", literally. Just what is going on? As of this writing, it has been more than twenty years since I have seen the 1978 remake of this film, so I can't compare the two at the moment. However, it would have to be flawless to top this, the original Invasion of the Body Snatchers.

The sole factor that caused me to give the film less than a ten was the pacing during portions of the first half hour or so. While it's not bad, exactly, director Don Siegel does not build atmosphere and tension as effectively as he might have while the viewer is being filled in on the necessary exposition. Admittedly, this section is directed in a standard way for its era, but "standard" here is enough to subtract a point.

However, once we reach Miles' friend Jack Belicec (King Donovan) discovering a body on his billiard table, the suspense and tension gradually increase, and the remainder of the film is a very solid ten.

The literal "weapon" of the film's horror could have easily come across as cheesy, but it doesn't. Don Post and Milt Rice's special make-up effects and props are threateningly eerie. The transformation sequences involving the props are beautifully shot and edited--showing just enough to make them effective, but not so much that the mystery is gone.

It was ingenious to create a story where a whole town gradually turns into a villain, and even natural, unavoidable biological functions threaten our heroes' destruction. In conjunction, it all creates an intense sense of claustrophobia and paranoia for the audience.

McCarthy and Dana Wynter, as Miles' girlfriend Becky Driscoll, expertly convey a gradual transformation from common citizens to panic-stricken, desperate victims on the run. The film is also notable for slightly ahead-of-its time portrayals of relationships and divorce.

Much has been said about the parallels between Invasion of the Body Snatchers and the "communist paranoia" in the United States in the late 1940s and early 1950s, especially as it was directed against Hollywood by the House of Un-American Activities Committee. (And how ironic that the star of Invasion of the Body Snatchers is named McCarthy?) However, there is another very interesting subtext present that isn't so often mentioned. The film can also be looked at as a philosophical exploration of personal identity. Just what does it take for people to be themselves? Is it how they look, act, the things they say? Is it not the case that people are constantly transformed into something they weren't just hours ago, or even moments ago? Among the many ways that these kinds of ideas are worked into the script is that sleep is a metaphor for unconscious physical change over time. It would be easy to analyze each scene in the film in this manner, going into detail about the various implications each plot development has on the matter of personal identity.

Despite the slight pacing/atmosphere flaw in the beginning, this is a gem of a film, not just for sci-fi and horror fans, and not just for its era. It's worth seeing by anyone with a serious interest in film, and can be enjoyed either on its suspenseful surface level, or more in-depth by those who want to look at the film as more metaphorical material for societal and philosophical concerns.

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24 out of 26 people found the following comment useful :-
One of the scariest sci-fi films of the 1950s., 15 December 2003
Author: Bruce Cook (brucemcook@windstream.net) from Fayetteville, GA

A chilling motion picture, well directed by Don Sigel, with a script co-written by Daniel Mainwaring and (uncredited) Sam Peckinpah, based on the novel "The Body Snatchers" (aka "Sleep No More") by Jack Finney.

The excellent musical score is by Carmen Dragon. Kevin McCarthy and Dana Wynter head the cast of this four-star classic in which the inhabitants of a small California town are being replaced by alien look-alikes. The aliens come to Earth in the form of "seed pods" that burst open and spew out a foam which grows into human duplicates, complete with all the memories of the original. The best scene in the film takes place in a greenhouse where several alien pods burst open and disgorge the half-formed copies of the horrified humans.

A prologue, a new ending, and a voice over-narration were added after the film's initial release, to help the audience follow the strange plot. In the added scenes, the story opens with Kevin McCarthy being brought into a hospital, raving about alien invaders. Two doctors (Whit Bissell and Richard Deacon) listen to McCarthy's strange story, which the audience sees as a flashback. At the end of he movie the doctors are understandably skeptical about McCarthy's weird yarn, but an unexpected event lends credence to his story.

Many film reviewers criticize these added scenes as unnecessary, an unwise attempt to conclude the story with a happier ending. But these scenes serve a valuable purpose, increasing the viewers sympathy for McCarthy and his efforts to convince someone that mankind is in danger. The alleged "happier ending" does not establish that mankind will win the battle against the aliens. It simply implies a Chapter Two in this epic struggle. Mankind will have a fighting chance in the war, but the outcome is definitely open to debate.

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27 out of 35 people found the following comment useful :-
Commie aliens land on Earth and disrupt our sleep patterns, 4 October 2003
Author: SteveThomp from Victoria, Australia

Invasion of the Body Snatchers does have some workable and attention-grabbing horror themes, but they are more psychological than science-fiction - this is not quite the el cheapo silver-shipped, alien-infested 1950s matinee jaunt that many think it to be. The set-up is slow and more than a little mundane, but critical when you consider the closing scenes with Miles struggling to keep Becky awake so that she can retain her compassion and emotions; it's therefore important to establish their relationship and to introduce the people around them (this is more a film about transformations in people than startling events). By the end of the film we can empathise with Miles and Becky, understand the dilemma that faces them, and admire their determined idealism: the success of this really hinges on the film's set-up.

We've all heard that this movie is political allegory, and it certainly meets all the criteria. However whether it's railing against communist infiltration or McCarthyist witch-hunts I've never really been sure - perhaps it's both. The use of sleep as the defining point of transformation seems to suggest the former: as people lose consciousness and alertness, the pods/Reds claim another 'victim'. So too does Miles' monologue at the window of his office, looking down on the busy pod distribution network as it goes about its business. Then again, the relentless pursuit of non-podders, and the single, frantic and unheeded voice of Miles at the film's beginning could symbolise the divisive, intellectually-deadening effect of McCarthyism on society. It's quite possible the director intentionally aimed for this ideological ambiguity to appeal to different perspectives - the only thing that is clear is that Invasion of the Body Snatchers most assuredly reflects the political climate from which it sprang.

If you like corny monsters, spaceships, people being devoured or end-of-the-world scenarios, look elsewhere in the plethora of B-grade sci-fi jaunts that are around. But if you prefer your horror a little more subtle and a lot more cerebral, this could be the film for you. The acting is competent enough, the budget fairly healthy for this time of movie, and the writing is very good without being exceptional. As a package of ideas and scenarios, however, Invasion of the Body Snatchers is both entrancing and enlightening and, pleasingly, doesn't opt for a neat, cop-out Disney ending. Just don't go to sleep.

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17 out of 18 people found the following comment useful :-
One Word Only......Masterpiece!, 31 October 1999
Author: BaronBl00d (baronbl00d@aol.com) from NC

Invasion of the Body Snatchers is the quintessential sci-fi film of the 50s, praying on the particular fears and paranoias of the time as well as more basic, instinctual phobias within each of us. The story is simple enough about a benevolent, intellectual doctor returning from vacation only to find that some weird, unexplainable feelings have been generated in the small town of Santa Mira. Some people say that relatives are not who they seem to be, despite being exact duplicates physically and mentally. This leads to one discovery to another for the good doctor, his girl, and two friends, and what we have through each discovery is one more piece to the puzzle that an alien presence is at work. What makes this film so successful is the pace and frantic mood it creates. We are caught up in Dr. Bennel's work, his fears and anxieties, his discoveries, and his uncovering of the truth. We feel confined, betrayed, and even suspicious of everything he encounters. Credit for this certainly must go to director Don Siegel and his outstanding ability to create this almost claustrophobic atmosphere, as well as to Kevin McCarthy who does an outstanding job playing the doctor. There are scenes in this film that live on long after viewing it...and the last one in particular has forever been etched into my mind. For a good fright, see Invasion of the Body Snatchers...They're here! They're here!

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16 out of 17 people found the following comment useful :-
An American cinematic masterpiece, 1 August 2005

Author: ColonelSteveAustin (stullyo2003@yahoo.com) from Levittown, New York

When I first watched this movie I was a teenager. I knew nothing about the Mcarthey era. I didn't live through the early post cold war paranoia. There were no outside influences aside from my love of movies.

I have seen the film over 2 dozen times and believe it to be the best of the 50's generation, and one of the top 3 or 4 science fiction films of all time. With or without the prologue and epilogue.

All things are not what they seem. What if you woke up from a nightmare to find that you are still in it, and can't get out. The message is clear. A home, a car, and a career are all great to strive for in one's life. But love, compassion and emotion are the true gifts to keep living in the first place. Imagine a home without love or any emotion what so ever. None. Good or bad.

One by one, Kevin Mcarthy and Dana Wynter are confronted by the loss of neighbors, associates, and friends. The horror of the loss of everything they new. Early on, when a boy thinks his mother isn't his mother, and a friend doubt's her uncle is who he says he is. Doctor Miles is confused and doesn't know what to believe. So he goes with common sense. His eyes see there is no problem. But The evidence piles slowly and precisely. Soon it is not only what to believe, but who to trust.

Kevin Mcarthy is outstanding. Dana Wynter is absolutely gorgeous and the chemistry between the two seems real. The film will keep you glued from beginning 'til end. Simply one of the best!

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16 out of 20 people found the following comment useful :-
Don't let the title fool you. This one is a classic., 24 May 2005

Author: krorie from Van Buren, Arkansas

This is one of the great movie allegories. Yes, it is an allegory on the McCarthy era. Yes, it is an allegory on conformist America. But it is also an allegory on the evils of communism and fascism. Yes, it is a plea for sanity and individualism, for creativity and artistic freedom. And again yes it is a great directorial achievement for Don Siegel. All that aside it is also an entertaining film that does what any great movie should do, it moves. The dialog is not stilted or full of clichés. It is original and insightful without becoming preachy. Was Kevin McCarthy chosen because his name was McCarthy and the film runs counter to McCarthism? I think he was chosen because he was one of the gifted actors of the 1950's whose talents were not fully realized by the film industry. His fellow actors and actresses in the movie shared the same fate. The movie is also a top notch thriller, as good as any Hitchcock. When you're talking about the films of the 1950's that help define the period only a few come to mind: "The Wild One," "Rebel Without A Cause," and "Bad Day at Black Rock" are often cited. But "The Invasion of the Body Snatchers" is the one to study. It epitomizes the American outlook and cold war hysteria of the era as no other film from the decade does.

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10 out of 11 people found the following comment useful :-
Siegel's classic paranoia flick still gives me the creeps., 24 June 2006
Author: el-mno-p from Newcastle, England

Invasion of the Bodysnatchers is most famous as a thinly veiled Communist allegory, with its emotionless pod people, 'a malignant disease, slowly taking over the country', as leading man Kevin McCarthy (whose surname just can't be coincidental) puts it. And, thanks to Siegel's craft, it is an effective thriller. One can't help but be effected by McCarthy's desperate attempts to alert his fellow Americans to the threat, before it's too late.

The film is presented to us as a flashback, with McCarthy explaining the take-over of his town to the extremely sceptical authorities. This is a brilliant device as, unlike with most flashback narratives (especially those in film noir), we don't know how the film will resolve itself. Whereas noir flashbacks begin at the end of the story in order to create a sense of foreboding, Bodysnatchers reverses this, creating an uncertainty that contributes to the central theme of paranoia.

The film is beautifully photographed in crisp, 1950s monochrome. There is an interesting contrast between this photorealism, and the more artificial aspects of the cinematography – dark shadows cast across faces etc – which is suggestive of the duality of the inhabitants of the small Californian town. My favourite scene is McCarthy's striking address to camera in the final act, which must be one of the earliest examples of breaking the fourth wall in film (in Hollywood at least, if not cinema in general), and is one of the most memorable images in screen history.

While the running time doesn't allow for much character development, Invasion of the Bodysnatchers is a thrilling film, turning human beings into cold, unfeeling monsters. Whether you agree with its politics or not won't have any effect on your enjoyment of this science fiction classic.

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15 out of 21 people found the following comment useful :-
Sci-fi thriller taps into 1950's paranoia, 19 December 2004

Author: Libretio

INVASION OF THE BODY SNATCHERS

Aspect ratio: 2.00:1 (Superscope)

Sound format: Mono

(Black and white)

A small Californian town is overrun by alien pods which begin to replicate the inhabitants, prior to spreading their influence across the country - and the world.

Alien invaders masquerading as human beings? Or Communist infiltrators masquerading as aliens masquerading as humans? Don Siegel's clever film not only taps into the paranoia of its era, it also exploits the timeless fear of 'invasion from without' which has sustained dozens of similar horror/sci-fi movies over the years. It's also genuinely frightening in places: The 'unfinished' humanoid pod discovered on a pool table in co-star King Donovan's home, which begins to resemble Donovan and eventually... opens its eyes; the bone-chilling close-up of a major character who has succumbed to the alien's influence during the course of a single kiss; and the famous scene in which hero Kevin McCarthy struggles to convince motorists on a busy highway of the impending catastrophe ("You're next! You're next!"). Simple but never simplistic, and photographed in noirish black and white by ace cameraman Ellsworth Fredericks (SEVEN DAYS IN MAY, PICTURE MOMMY DEAD), the movie earns its place as one of the most memorable genre pieces of the 1950's. Future director Sam Peckinpah has a brief cameo (as Charlie, the meter reader); remade by Philip Kaufman in 1978, and by Abel Ferrara (as BODY SNATCHERS) in 1993, with THE INVASION following in 2007.

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9 out of 10 people found the following comment useful :-
The simplicity of the horror is what "makes" this film so brilliant..., 8 February 2007

Author: Neil Doyle from U.S.A.

What must be considered one of the most original of all the science fiction films emanating from the '50s is INVASION OF THE BODY SNATCHERS, a low-budget sci-fi film about a sleepy Southern California town infested with a bunch of pods that are replicating the town's humans in physical form hatched from alien pods and taking over mind and body.

It doesn't waste any time in getting to the core of the horror element, with McCarthy as a doctor invited to a friend's house where he sees the first evidence of a sleeping pod form taking on the shape and identity of another. He and his sweetheart (the beautiful DANA WYNTER) are soon aware of the situation enveloping the small town residents and make an effort to alert the authorities, but find that no one can be trusted to be whom they claim to be--and are soon on the run themselves.

It easily remains one of the most gripping of these films with an excellent score by Carmen Dragon. KEVIN McCARTHY, DANA WYNTER, VIRGINIA CHRISTINE, WHIT BISSELL, KING DONOVAN and CAROLYN JONES all deliver fine performances and director Don Siegel keeps the suspense taut until the final scene.

Summing up: Alien invaders have always been a big part of sci-fi stories but never quite as creepily as depicted here. Terrific suspense.

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