Based on Jack Finney’s novel The Body Snatchers, this remake of the original 1956 film follows a
similar story. An extra-terrestrial species arrives on Earth, merging itself
with the local plants of San Francisco, enticing people to pick their fleshy
pink flowers. Elizabeth (Brooke Adams) brings one of the flowers back to her
home, noting its invasive and fast-growing capabilities. The next day,
Elizabeth notices her boyfriend Geoffrey (Art Hindle) is acting strangely.
Concerned, she seeks advice from her work colleague at the Public Health
Department, Matthew (Donald Sutherland), who dismisses her worries as a
psychological manifestation. Gradually though, Matthew and his psychiatrist
friend David (Leonard Nemoy) hear more people distressed about their friends
and loved ones not behaving like themselves. Elizabeth, David and Matthew,
along with Matthew’s friends Jack (Jeff Goldblum) and Nancy (Veronica
Cartwright), realise there is an alien invasion in place and try to avoid the
same fate as the San Francisco population.
Invasion of
the Body Snatchers is a masterclass in building horror slowly, as the
details of what is happening start to emerge or are hinted at. Director Philip
Kaufman imbues the film with a constant sense of dread, focusing on creating
atmosphere rather than jump scares. Little details can be seen as the events
unfold: a couple of bystanders running away in the background early on; the
increasingly precise and direct movements of the city dwellers and the frequent
appearance of an ominous garbage disposal truck. Invasion of the Body Snatchers ramps up the paranoia amongst the
characters, as Matthew is met with indifference when he talks to the police and
government officials about the infiltration of the aliens. Later, these
supposedly good figures of authority turn against Matthew and his friends, using
their power to try to hunt them down. Invasion
of the Body Snatchers has universality in its story of individuals
persecuted by the majority, which makes it the perfect mirror to reflect our
society’s collective fear of dehumanization back at us.
The production elements of Invasion of the Body Snatchers are outstanding. Michael Chapman’s
cinematography is tilted and disorientating, capturing the sense of upheaval
Matthew and Elizabeth are experiencing. The camera gradually pushes in during
quieter scenes, follows Matthew’s movement through shop windows and reveals
faces in the shadows. The special effects bring visceral terror to the
proceedings, as the undeveloped ‘foetuses’ lie under a blanket of white, almost
cobweb-like plant material, whilst thin fibrous tendrils try to snare themselves
around our protagonists. Ben Burtt’s sound design is equally as disturbing, as
the pulsating synthesized beats seem otherworldly and conjure images of biomechanical
heartbeat.
Brooke Adams plays Elizabeth well, as one of the first to
realise something is amiss in San Francisco. Adams conveys Elizabeth’s
desperation and her active search for explanations, even in the face of
adversity. Donald Sutherland sells his character Matthew well, as a
light-hearted health inspector, providing some unexpected humour, before becoming
an unlikely hero. Jeff Goldblum is hot-headed as bath-owner and struggling
writer Jack, firing off his trademark fast dialogue with aplomb. Veronica
Cartwright is just as neurotic as the hippyish Nancy, her beliefs in conspiracies
belying her intelligence. Cartwright’s performance also makes the ending of the
film even bleaker.
Invasion of
the Body Snatchers is a chilling science fiction film, showcasing great
production values and proves the power of a great story has in terrifying
audiences across the ages.
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