Invasion of the Body Snatchers

Shortly after Elizabeth Driscoll (Brooke Adams) discovers a strange plant in her San Francisco-area yard that she cannot identify, her boyfriend begins acting strangely--he looks the same, but Elizabeth swears he's a different person. Before long, more and more people are claiming the same thing about their friends and relatives. Just what is going on? Although not quite as good as the original Invasion of the Body Snatchers (1956), this remake is very interesting and well worth a watch. Some things it does better than the original, although slightly more is not done as well. But it is full or intriguing ideas, some beautiful cinematography, and quite a few quirky charms.

One oddity about this film is that it seems to assume that very few people will watch who aren't already familiar with the original. Scripter W.D. Richter and director Philip Kaufman give away the "twist" immediately, and there are a number of statements from characters in this film (such as the first time we hear the advice to not fall asleep) that only make sense if one already knows from Don Siegel's original just why they shouldn't fall asleep. For this reason, I strongly recommend that anyone interested in this film who hasn't seen it yet should make sure they watch the original first.

The opening shots, which firmly set this remake into sci-fi territory, are a great idea, even if the execution is somewhat questionable. I'm not sure that Kaufman's "art gel" works, and the way it moves through space, as if blown by trade winds, is slightly hokey. But I'm willing to forgive a misstep if it's in service of a great idea, and especially if the misstep is the result of budgetary limitations.

Early in the film, the major asset is the cinematography. There is an excellent, slow tracking shot down a hallway, where we only see our main character by way of her feet and a slight reflection in a window. There are a lot of great "tilted" shots. There are a lot of subtle lighting effects to set mood, and a just as many subtle instances of symbolism for the horrors to come.

The cast, featuring Adams, Donald Sutherland, Jeff Goldblum, Leonard Nimoy and Veronica Cartwright, is an interesting combination of stars who tend to give idiosyncratic performances. Kaufman exploits the collection of personalities well, although occasionally gives us odd "everyone talk at once" scenes which can verge on the brink of annoying. Although I'm not usually the biggest fan of Goldblum (in some roles, such as The Fly, I like him, in some roles he tends to irritate me), I noted an odd similarity between him in this film and an actor and performance I'm much more fond of--David Duchovny and his X-Files character Fox Mulder.

Speaking of that, there is a strong X-Files vibe to this film overall. Whereas the original Invasion had thinly veiled subtexts of fear and doubts of "The Other"--whether politically-rooted (the common analysis is that the original Invasion was a subtext for U.S. fears of communism), religiously-rooted (some see it as a parable about cults, or religions in general) or simply about personal identity (in a philosophical sense of "Who am I/are you?" "What makes one oneself?"), Kaufman's take has stronger subtexts of encroaching mental illness--fear of losing one's mind and a generalized, "clinical" paranoia.

Given that difference, it's perhaps odd that there are so many similarities between the two films. The character structure and relationships are largely the same, with some mostly insignificant differences, including slightly different occupations. There are many scenes taken almost verbatim from the original film, often only with differences of setting, but staged the same, with similar scenarios and occasionally identical dialogue. There is even a wonderful moment where Kevin McCarthy, star of the original film, comes running down the street, screaming that we're all doomed.

A number of quirky moments push the value of Kaufman's film up a notch. These are sprinkled throughout the film, but some highlights are a Robert Duvall cameo as a priest inexplicably on a swingset next to toddlers, the "mud bath" parlor, a brief spurt of marvelous, Zappa-sounding avant-garde classical as we witness a chase down a staircase, and a greenhouse in a shipping yard, through which Elizabeth eventually strolls naked, casually walking by employees. The "creature" effects may be better here than in the original, but they are not more effective for that.

But overall, this is a great film. Just make sure you don't miss the superior original.

I first saw this film in a movie theater at midnight, as part of an October horror-movie festival. I almost didn't go; I had always had this movie figured as another stupid Hollywood remake of a great film from the past, and thought they were probably only showing it instead of the original because of that weird, vague prejudice against black and white movies that still for some reason permeates this country, even though the novelty of color wore off about forty years ago. But I figured what the hell, it wouldn't hurt to check it out, and when will I get a chance to see any of these movies in a theater again? So I went, and was almost immediately sucked in by the mind-bending direction and the terrific acting. But not only that; it was after midnight, remember, and I was getting sleepy, and I found myself in that kind of hypnotized, pseudo-dreaming state you can get into when you're watching a movie really late at night. I was really into the movie, mind you, but it was like a dream, I wasn't wholly conscious. And just as I was at my most out-of-it, as I was almost technically asleep, the movie hit me with that last shot, you know the one I mean, and jolted me wide awake like a bucket of ice water. It was just like waking up from a nightmare. I thought I was gonna start crying. I haven't been that freaked out by a movie since I was a little kid. As the end credits rolled and the house lights came up, I heard some other people in the theater talking about what a stupid movie it was, man, was that a waste of money, I'm glad it was only three-fifty, and it was a really surreal moment; I've just had one of the most horrifying moments of my waking life, and they're talking about how silly it was (although, truthfully, they may have been a little shaken up themselves and just covering for it, I dunno). A week or so later I was talking about it with my dad, who had seen it when it came out, and I mentioned the ending, and he did a dead-on mimic of the last shot, and I said "God! Don't do that!" I was STILL shaken up by this movie.

There aren't a lot of movies that even try to be frightening--most horror movies (and novels and so on) actually have other concerns: being funny, or shocking, or gory, or surprising, or bizarre, or whatever--and even fewer actually pull it off, actually scare you. Man, does this one pull it off.

The 1956 film is an enduring classic; Abel Ferrara's 1993 picture is extra jarring as it emphasizes the horror element. Even as the concept has been explored time and again to various ends throughout different media (the two episodes of sci-fi comedy show 'Eureka' preceding the series finale is a favorite example of mine), somehow I've missed out all these years on this 1978 rendition. Now that I've finally caught up I can't believe it's taken so long: this is utterly phenomenal.

From one variation to the next each adaptation of 'The body snatchers' takes a slightly different approach. The 1978 movie is noticeably longer in its runtime, and more drawn out in its pacing - with the payoff of being distinctly haunting, and arguably more deeply frightening, as the course of events develops. This remains true even as the narrative is slightly more scattered, bouncing around a bit for a time between different scenes and characters, and that's at least in part thanks to the sensibilities of cinematic storytelling that changed in the intervening 22 years: this 'Invasion of the body snatchers' progressively shows us much more as the narrative advances, and whether it's just more creepy and unnatural behavior, or the specific effects and fabrications realizing genre elements, the cumulative effect is intensely unnerving.

That is to say that 'Invasion' successfully builds incredible, pervasive atmosphere that never once yields; I'm rather reminded of the films of John Carpenter, a master of horror whose bread and butter throughout his career has been that same dread air. In some such features it might be one aspect or another, or some combination, that helps to achieve that aura; here, it rather seems that every single facet is discretely bent toward it. Relatively few are those pictures in which sound effects so emphatically contribute to the viewing experience, yet in this instance they are crucial and arresting. From subtle makeup to more advanced prosthetics and special effects, the visuals are all but excruciating (again recalling Carpenter, I say as a major fangirl), bolstered by very careful cinematography, lighting and shadow, and precise orchestration of every shot and scene. At all times Denny Zeitlin's score strikes exactly the right chords - discordant or sweeping, light and sparing or heavy and foreboding - to give further shape to the proceedings. The acting from this terrific cast is perfect and focused across the board; among others, Donald Sutherland, Brooke Adams, Jeff Goldblum, and Veronica Cartwright impress with what I'm inclined to think are surely among the best performances they've ever given.

Outstanding production design and art direction adjoin superb filming locations to foster a horrific sense of how solidly rooted and wide-ranging the conspiracy is. Where some scenes pointedly echo the 1956 classic, the rendition here is unquestionably more visceral, more explosive, more fiercely engaging and invigorating. Conversely, Ferrara's treatment is more closely centered on a particular setting, and makes the most of 90s notions of horror within that space - but for as vivid as it may be, to my astonishment the 1978 film still comes out on top in terms of the feelings it imparts, the reactions it elicits. Characters feel more complete and sympathetic, dialogue is more vitally charged and relatable, and at every turn the scene writing and narrative resonate more powerfully. As much as I love Don Siegel's picture, and Ferrara's, from top to bottom this is a more absorbing, spellbinding, menacing, disquieting, fulfilling viewing experience - and outright superior.

Every now and again one watches a movie that so wholly entrances us that it's difficult to find the words to elucidate the joy of watching. We talk in circles, we trip over ourselves, in our exuberance we lose track of some of what we might want to see. 1978's 'Invasion of the body snatchers' is one of those movies. I had high expectations when I sat to watch, for all the reasons, and still they were handily exceeded. What more is there to say? This is a must-see, and that's all there is to it.

I hadn't seen this film in about 20 years, and now after watching it current day, it's just as good if not better now. No CGI, and I like that... The cast, and acting is really good, Donald Sutherland delivers an amazing performance. The cinematography is awesome! I highly recommend this as a must watch for any Sci-fi and/or Horror fan.

This is a solid horror/sci-fi story with good production values. Those values include outstanding direction by Philip Kaufman, camera-work by Michael Chapman and acting. The cast of main characters was comprised of Donald Sutherland, Brooke Adams, Leonard Nimoy, Jeff Goldblum and Veronica Cartwright. Of the group, Sutherland had the most lines and was the most impressive. All of it added up to a pretty classy film, a lot more than you'd except reading the movie title.

There was some profanity and nudity so maybe it wasn't totally classy, but the profanity was light and the nudity was a few shots of Adams' breasts.

The movie clicked because it built up the suspense beautifully, and proved you don't need a lot of violence and gore to scare the viewer. Too bad modern filmmakers of horror films can't seem to understand that. In fact the scariest thing of the movie - and it WAS scary - might have been the eerie noises emanating from the "re-born" humans.

The photography is good and I loved the facial closeups and interesting camera angles. The film is a visual treat. The original film in 1956 is a good one but it's generally conceded this re-make is superior. The star of that first film, by the way - Kevin McCarthy, makes a cameo appearance in here. That was a nice touch.