A timeless, terrifying motion picture! Based on the Collier’s magazine serial turned book The Body Snatchers by Jack Finney, directed by Don Siegel, and produced by Walter Wanger (of Cleopatra infamy), this Allied Artists’ motion picture is the single best representation of the fears and anxieties of the 1950s. But the beauty of this particular picture is that its themes including the fear of conformity, loss of identity, dehumanization, loss of individuality, and even vulnerability are still relevant today, perhaps even more so than they were at the time this seminal horror film was released.
In Santa Mira, California, Dr. Miles Bennell (Kevin McCarthy) is baffled when all his patients come to him with the same complaint: their loved ones seem to have been replaced by emotionless impostors. Despite others’ dismissive denials, Dr. Bennell, his former girlfriend Becky (Dana Wynter) and his friend Jack (King Donovan) soon discover that the patients’ suspicions are true: an alien species of human duplicates, grown from plant-like pods, is taking over the small town.
While this film sits comfortably in the horror/sci-fi subgenre, it shares a lot of characteristics in common with film noir. Between the recurring narration, a central character in over his head, and the fact events do not turn out favorably for the central character, it pulls on the best of the film noir apparatus to craft a highly unnerving cinematic story that prompts one to think about the state of the world around him or her.
Perhaps in its day, Invasion of the Body Snatchers was a commentary on the threat of communism/socialism on the American republic, but that is not the only subject to which this film can speak to us decades later. Could it still be read as a warning against the threat of communism today? Sure. But, communism doesn’t look or act like it did back in the 1950s. That’s the danger inherent with famous allegorical films such as this one; the well-known danger is pigeonholing it into only ever meaning what it meant back during the days of the Cold War. When in fact, this film can be read as a commentary on a variety of topics, depending on the worldview of the audience member.
Whatever the form the existential enemy takes, whether you choose to read it as a commentary on communism, socialism, nationalism, or woke-ism (more accurately defined as applied/reified postmodernism), this film speaks to that which is defined as a threat to one’s present existence. When we label what this film is about, we limit its potential to speak to us. So, it’s better to read the film through its various themes versus defining what the enemy is. From beginning to end, the film depicts events and behaviors that rob individuals of expression, identity, competition, entrepreneurship, and choice in exchange for homogeneity, group think, forced societal roles, and emotion. Ostensibly, this film is about an enemy that seeks to dehumanize and force conformity upon everyone—a world in which everyone is equal and exactly the same versus a world in which we are all equal but definitely not the same. The film demonstrates what happens when we are asleep to the threat of the enemy, and it comes in like a thief in the night. And when we finally recognize the threat, it’s all but too late for us, for humanity, for freedom.
The film begins laying the pipe for the second act reveal of the pod people all the way at the beginning. It’s a scene to which many may not pay particular attention; it’s the scene wherein Miles notices that the Grimaldi vegetable stand is no longer open. One of the characteristics of a society that demonstrates a lack of support or simply opposes free enterprise (or by extension the marketplace of ideas), is manifested in this imagery. Farmer Grimaldi abandoned his private farming business in exchange for supporting the planting and harvesting of the alien pods. Other disturbing imagery is the crisis between the second and third acts wherein Miles and Becky are told that the pod people (replicants of their human counterparts) mean them no harm and want to provide a peaceful existence. The real horror here is that the peaceful existence comes at the cost of freedom and one’s unique identity (all the traits that make one a unique man or woman). These pod people are devoid of any genuine emotion, only exhibit the pretense of it, and see individualism as a threat to their existence.
Invasion of the Body Snatchers is a call to action; it’s a wakeup call to all those that watch it to stand vigilant against tyranny, to stand guard against threats both seen and unseen that seek to undermine what it means to be human. Furthermore, the film posits the idea that the deadliest enemy may not be the one that can be viewed with the naked eye; rather, the deadliest enemy is the one that sneaks in unbeknownst to most individuals. Or maybe it comes disguised as something that sounds great on the surface, but only seeks the destruction of uniqueness, freedom of expression, the marketplace of ideas, and the human dimension of existence.
Due to the timelessness of the message of this terrifying film, we are drawn back to it time and time again. We are reminded to stand guard against an enemy that seeks to destroy our very way of life. It’s a story of survival and the great cost of freedom. A recurring theme throughout the horror genre is the theme of survival, and Invasion of the Body Snatchers is a brilliant exploration of how to survive against mounting odds that appear unstoppable. Horror films have a way of causing us to rally, causing us to come together in support of our right to survive. There is no other genre that inspires us to fight the enemy like a horror film.
Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.
R.L. Terry ReelView 
