The Body Stealers

Not a great movie low budget somewhat dated however have seen a lot worse e.g. The Avengers movie. Patrick Allen is business like in the lead. Passable if not particularly memorable film.

This film is worth seeing just for the opening sequence alone. A surprise from the outset leading into a thunderous Sixties-style score, before the rot sets in. There is curiosity value for a performance from Patrick Allen (The Jaw, in what nearly amounts to a leading role) and a very rare appearance of Sean Connery's brother Neil in one of only two film roles that he made that I am aware off. Mid-way the love interest on a moonlit beach really sags and does not help the film much, while the ending is a let down and even stranger to see a prop stolen from the Doctor Who film Daleks: Invasion Earth. I almost expected Peter Cushing to materialise out of.....THIN AIR!!! Still, overall I found it...quite enjoyable!!

The 1960s was the era of the brash, misogynistic hero who uses his fists first and asks questions later. He assumes that all women want to sleep with him, no matter what the age gap, and wears a variety of chunky knitwear a Cornish fisherman would feel comfortable in. This behaviour can all be blamed on James Bond. The mega-success of the Bond franchise lead to every other TV and movie producer falling over themselves trying to get a piece of the action. There were spies, espionage and action heroes everywhere. Now The Body Stealers is not a spy film as such, but it is Bond that it most closely resembles, despite its extra-terrestrial enemy. And unfortunately our Neil does not take the lead role, the honour falling to Patrick Allen. Allen was a great character actor in the 1960s, making many appearances in Hammer films, including the fan favourite Captain Clegg aka Night Creatures, along with assorted low-budget science fiction efforts. Here he plays a no-nonsense, womanising private detective called in by the military to solve the mystery of parachutists disappearing in mid-drop. Neil Connery is relegated to standing in the background in most of the scenes, playing an old friend of Allen's.

So, the plot goes something like this: The British Air Force are testing a new kind of parachute, but their jumpers (not the knitted kind) are vanishing into thin air before they hit the ground (incidentally Thin Air was the original title of the film, but exploitation master Tony Tenser, producer and head of Tigon, thought it wasn't catchy enough). It IS all a mystery. Allen, who used to be a parachutist himself, leaves a women he was enjoying an intimate picnic with at the order of George Sanders and moves into a seedy looking B&B by the airbase. After clumsily trying to chat up a female scientist, and meeting the chief scientist Maurice Evans (better known for his appearances under heavy makeup in the Planet of the Apes series), he starts to make his moves on a mysterious, bikini-clad blonde he meets on the beach. Meanwhile, for no given reason other than he may be a pervert of some kind, Neil Connery takes secret photos of his old mate Allen making love to this woman right there on the sand. But when he develops the photos, possibly for publication in a seedy magazine (everything was seedy in sixties low budget science fiction), he discovers that she doesn't appear in the photos! That's because she is an alien!

Are you following this? I won't continue, as I'm confusing myself as much as I'm probably confusing you, and I've seen the film. It's no wonder George Sanders spends most of his scenes looking mistily into the distance, no doubt reminiscing on his earlier days working with the likes of Visconti. Even Allen admits on the DVD commentary that he had no real idea of what was going on. Now depending on your view point, this confusing plot, and the lack of a satisfying conclusion, could lead you to believe that you have just wasted the last ninety minutes of your life. Or, if like me you have a certain fondness for sixties British science fiction then there is still plenty of enjoyment to be had from The Body Stealers. You can wonder how Neil Connery didn't do more to cash in on his brother's celebrity status (his only other film appearance of note is the notorious Italian Bond rip-off Operation Kid Brother), or whether this film was the tipping point for Sanders, resulting in his suicide just a couple of years later. You can admire how Allen's heroic chin can win over even the most resistant of women, and even speculate whether there couldn't have been an easier, lower-profile way for the alien race to abduct men to take back to their home planet.

This is a fairly typical low-budget British sci-fi from the late 60's, and has as its 'stars' George Sanders and Patrick Allen, themselves quite common in such films. Things kick off to a fairly intriguing start, when parachutists start disappearing mid-jump. It's serious enough to make even the Army put down their cups of tea and investigate - or rather to call in top-whack investigator and philanderer Bob Megan (Allen) to see if he can get to the bottom of it. He sets about his task by doing a good deal of leering at various secretaries and pretty young scientists before waving a Geiger counter around and meeting a mysterious lady on the beach at midnight. She's no raving beauty but Bob has a go anyway, before wandering back to his digs and looking like he might manage a quick one with his over-the-hill landlady. But no, he's got a busy day ahead. Quite what happens next is spoiler territory, and I can't remember anyway. Worth a go if you like wondering how much the actors got paid and why.

The tale of paratroopers who disappear, literally, into thin air, this film is an odd watch forty years later. It's primary interest lies more in what it says about the time, than the film itself.

Released in 1969 three influences loom large.The year that Man first landed on the moon it reflects a fascination with, and fear of, what might lie in outer space. Militarily we were also in the midst of the Cold War when anything unexplained, and potentially evil, automatically raised the question of Communist involvement. And finally James Bond was the dominant screen character, and his shadow falls long here in more senses than one.

Veteran, square jawed character Patrck Allen, bulldozes his way through the role of an expert,Bob Megan, called in to solve the awkward problem of disappearing parachutists. One extraordinary scene speaks volumes for the Bond "character" and perceptions of women at the time. Megan chances upon a scantily clad beauty enjoying enjoying a solitary moment taking in the evening and then makes advances on her which vacillate between sexual assault and rape. No sooner is he introduced to a shapely scientist in a pencil skirt than she too is subjected to his clumsy male machismo which in the 21st century looks appalling.Of course both women come back for more. When he IS offered sex on a plate by the blousey, but ageing, hotel owner he rebuffs her to reinforce yet another sexual stereotype, the ageing temptress who can't get it because she has had it.

The Bond theme is further explored by the presence of Sean Connery's brother Neil, as Megans sidekick John Radford, in one of only two screen performances. Bearing a strong resemblance to Sean, his acting talents are strait jacketed by a preposterous script.

A dreadful ending combines the worst of "Dr Who" and "The Champions", suggesting that a 30 minute running time, rather than three times that, would have suited all concerned somewhat better. A hopeless film, but a fascinating sixties curiosity.