L'Invasion des profanateurs

Invasion of the Body Snatchers is the remake of 1956 movie by the same title and considered to be, by many fans, to be the definitive and the best version of the story.

The movie begins with images of plasmas from an alien world floating out into space towards planet earth. Then the rain comes and we see an odd organism growing on plants' leafs. Before too long, people start to act strange, they group and exchange plants, they act indifferent to their surroundings, they are emotionless, almost robotic. A group of characters who are not affected soon find themselves a minority in a world that is changing rapidly.

One of the greatest appeals of this movie is its socio-political resonance. It can be interpreted as a state of minority versus majority, us versus them and individualism versus social conformity. It shows how we try to turn the others into a version of ourselves because we can't tolerate the otherness. And maybe this is a universal common trait of all beings whether alien or human. Even though the commentary is about humans, it is actually alien organism that takes over human bodies (snatches human bodies - hence body snatchers).

The movie also questions how much we should sacrifice to achieve harmony in society. Should we preserve our individuality at risk of conflicting with other members of the society, or should we just join the majority, think like others, walk like others and talk like others do? Like all great science fiction movies, the story is social commentary on the state of the world. This is probably the reason why there are so many versions of this movie. And most recently in 2007, another version was made called "The Invasion" starring Nicole Kidman and Daniel Craig.

Invasion of the Body Snatcher (1978)

The original 1950s version of this movie is such a favorite of mine, I hesitated to watch this one. But fear not. This is great, too. It's got the same theme, but very richly and creatively rendered, some superb photography, great night stuff, and most importantly, great acting by the key 3 or 4 people.

Director Philip Kaufman works sporadically as director and writer (he hit it big with "Raiders of the Lost Ark") and he clearly has a unique and somewhat fearless vision that remains rooted in Hollywood sensibilities. That is, this is no independent film, yet it's creative.

And it's scary. Between the development of fear over the actual biological invasion, and the old fashioned chase and hide sequences, this is a tense movie. But yet it's convincing, given the realistic, nuanced acting by the main couple, Donald Sutherland (as a Health Department official) and Brooke Adams (as a lab analyst in the same department). Of course, what happens isn't believable at all, somehow, but it's so close to feasible, and in fact so close to what we live with already (some people without feelings, out for themselves, part of a conspiracy, etc.), it isn't hard to pull it off.

Cinematographer Michael Chapman is about as good as it gets in the Hollywood vein, polished and with amazing, varied lighting (he also did "Raging Bull," "The Fugitive," and "Taxi Driver," for starters). So this movie works on every level. The one thing it isn't, of course, is original, but as a remake, we have to take it for how it handles it, 1970s style. Impressive.

I have never been a fan of horror movies or remakes because they are usually not good. But when done right, they can be special movies. Invasion of the Body Snatchers happens to be both a remake and a horror movie, so I had my doubts. Luckily, this is a really good movie. This film is based off the 1956 film of the same name, and I hear it is a good movie. So when a remake at least equals the quality of the original, then that means you did something right. Most people seem to agree that this movie equals the same horror tone as the original, but it passes it in terms of conception. There are many themes this movie expanded on. Such themes include paranoia, the idea of dehumanization whether it's mentally or quite literally in the case of this movie. You could also talk about the idea of the lack of trust of people in an increasing complicated world. The original had roots in communism as the 1950's were known for paranoia as the Cold War escalated. You could easily see the transfer of those ideas in this film. Paranoia is rampant as these invisible alien creatures take over human bodies and minds. These ideas really created the tension and horror that the movie needed.

This science-fiction remake is sent in the city of San Francisco, California. One day, Elizabeth Driscoll (Brooke Adams) complains to her good friend Matthew Bennell (Donald Sutherland) that her husband has been acting very strange. Bennell originally dismisses the thought as marital problems. But when more people start complaining, he becomes increasingly concerned. When writer Jack Bellicec (Jeff Goldblum) and his wife Nancy (Veronica Cartwright) uncover a mutated corpse, Bennell realizes that the world has been taken over by an unseen force. Now it's up to him to beat the clock before the whole city turns into mutants.

The film does have a good cast, and they all turned in solid performances. Donald Sutherland is a great actor, and he showed himself some range here. Brooke Adams made a name for herself earlier in 1978 with Days of Heaven, and she turns in another good performance. Jeff Goldblum is an amazing actor as you will see in future movies, but he is really good in one of his earlier roles in this film. One of the best performances in the film comes from the amazing Leonard Nimoy. You might know him from his iconic role as Spock in the original Star Trek television series. He is usually typecast as similar characters in his movies, but this role as Dr. David Kibner gives him something fresh, something different. He plays more of a villainous character, and it's a welcome sight.

The production design adds to the horror elements. The look of the movie is creepy and sometimes downright scary. The pods where humans are transformed are wonderfully scary. When the movie shows how these humans are transformed is the ultimate prize when it comes to being scared. Any fan of horror would appreciate this.

Overall, I really enjoyed the 1978 version of Invasion of the Body Snatchers much to my surprise and delight. It succeeds in giving me the creeps, but in such intelligent ways. It's a thematic film touching on concepts of paranoia-which was a very popular concept considering what was going on in the world at the time. So remember if you see any pods nearby, well lets hope it is not an invisible alien making you its next prey. After all, I became a little paranoid for a few days after I saw the movie.

My Grade: B+

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.

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.