The Invaders

This episode marks a superb confluence of great writing (Richard Matheson), taut, suspenseful direction (Douglas Heyes), and bravura acting (Agnes Moorehead), and a brilliant Twilight Zone twist. A lonely woman in a deserted farmhouse must defend herself against tiny attacking aliens.

Moorehead's performance is a pantomime tour-de-force, using no words whatsoever, yet managing to make us feel for this poor, put-upon woman. She fully inhabits the character, showing us not only the character's fear, but also her resolution, fury, and -- in one touching moment -- a touch of wounded vanity mixed with pain. Although her gestures are somewhat broad, her dedication to the role make these gestures natural outgrowths of the character, not clumsy pantomime. Remarkably, an actress who repeatedly proved herself so adept at coiled up repression (e.g., "The Magnificent Ambersons", "Citizen Kane") lets herself go in compelling fashion here.

Further contributing to the energy and power of this episode is Matheson's script. Matheson's script is a model of economy -- no wasted dialogue, in fact, only minimal dialogue. Matheson's strength as a writer was always his skill for efficient and effective plotting, and this episode contains only those actions necessary to drive home the story. This, combined with Heyes' marvelous use of light and editing to heighten the mood and suspense, keep the story moving at a crisp pace.

Perhaps this episode lacks the deep moral truths of other "Twilight Zone" episodes (Matheson's episodes usually did), it more than makes up for it in suspense and brilliant character work.

Wow! Brilliant writing, brilliant acting, and an imaginative concept. This ranks at the top.This is so unique because it sucked the viewer in and not only had a shock "for the ages" of an ending-but generally placed the blame on us.Outside of Patty Duke's performance in "The Miracle Worker" this was with most brilliant non verbal performance I've seen on TV or Screen.The most shocking element to this episode is that no one could see it coming even though there are clues all along if you are paying attention(most people don't).It certainly redefines the element of humanity based on your particular perspective. I know I haven't discussed the episode but outside of a one sentence description of the episode you can't really say any more without giving it away. There also may be a social commentary evolving from this episode but rather than ramble on all I can say is this is one Twilight Zone that can not be missed.

It is unfortunate that Agnes Moorehead is largely known to baby boomers and subsequent generations by her most famous TV character, the one-dimensional "Endora," mother of Samantha the witch on "Bewitched" (and unloving mother-in-law of the much-put-upon Darrin Stevens). She was one of the most interesting and versatile character actresses for over three decades, from her first film role as the birth mother of the title character in "Citizen Kane" until her untimely death from cancer in the early 1970s. Her other roles included the working-class aunt of the title character (played by Jane Wyman, Ronald Reagan's ex) in the rural-Canadian-set melodrama "Johnny Belinda," a woman with evil intent in the Bogart/Bacall noir "Dark Passage," and the shrewish but benevolent maid who tries (and fails) to save the title character (Bette Davis) from evil plotters in the Grand Guignol horror classic "Hush, Hush...Sweet Charlotte." In this justly-beloved episode of "The Twilight Zone" (with a none-too-surprising twist ending which will not be revealed here), Moorehead is a simple hard-working rural woman living alone in a farmhouse who is besieged by little space-suited men armed with ray guns. She protects herself and her homestead with absolutely no dialogue, and demonstrates a range of emotions, especially a very convincing terror, as she confronts the intruders on her peaceful rustic retreat.

Agnes Moorehead, known to millions of television viewers as "Endora" on "Bewitched," gives a tour de force performance as a woman that finds herself at the mercy of "alien" invaders in her remote farmhouse. Giving a dialog-less performance, Moorehead uses grunts, sighs, screams, and wonderful facial expressions to reveal the tension and fear experienced by the frightened woman. Looking haggard and dim-witted, Moorehead pulls out all the tools of the acting trade to portray this character.

Interesting camera angles and lighting, combined with Jerry Goldsmith's piercing score, add to the enjoyment of "The Invaders." It is no wonder why this particular installment usually rates highly with fans of "The Twilight Zone." More creativity is shown in this thirty-minute teleplay than many big-budgeted theatrical features of the recent past.

Get a load of that bare-bones shack. I'll bet even Ma Joad would snub it. Then there's the poor old lady living there all by herself without even a Sears catalog for a new dress. Yup, this is Grapes of Wrath on steroids. But most of all, pity those itty-bitty space aliens that land there. They're in for a big surprise because the old gal swings one mean axe. But then, who knows what those mysterious little critters have in their arsenal. All in all, it's a battle to the death somewhere in a Matheson never-never land.

As I recall, this was a "water-cooler" entry that got talked about big-time the next day. And why not since the premise is an exotic one. But it's really the bare-bones staging plus Agnes Moorehead's commanding turn that puts the story over. I'll bet the sets cost about a buck-eighty, but I really hope they paid Moorehead triple for her solo turn. Anyway, it's still a riveting entry with a wonderfully ironical upshot. So don't miss it.