Invasion of the Body Snatchers (1956)

A mix of superb Sci-Fi adventure and imaginative, intense and suspenseful thriller!

Directed by Don Siegel
Produced by Walter Wanger
Screenplay by Daniel Mainwaring
Based on The Body Snatchers by Jack Finney
Music by Carmen Dragon
Cinematography: Ellsworth Fredericks
Edited by Robert S. Eisen
Production company: Walter Wanger Pictures, Inc.
Distributed by Allied Artists Pictures Corporation
Running time: 80 minutes
Box office: $3,000,000

Cast

Kevin McCarthy as Miles Bennell
Dana Wynter as Becky Driscoll
Larry Gates as Dan Kauffman
King Donovan as Jack Belicec
Carolyn Jones as Theodora "Teddy" Belicec
Virginia Christine as Wilma Lentz
Jean Willes as Sally Withers
Whit Bissell (uncredited) as Dr Hills
Richard Deacon as ER doctor

The film you are about to be acquainted with is called Invasion of the Body Snatchers which was adapted from the screenplay from Jack Finney's 1954 science fiction novel, The Body Snatchers.

Trailer

Spoilers Follow.....

Picture a small fictional Californian town by the name of Santa Mira. Like many other towns, Santa Mira moves at its own leisurely pace and folks travel well-worn paths through life governed by the predictable surety of routine… That is… until one day when the neat folds Santa Mira’s routine were torn asunder by an extra-terrestrial invasion that began with spores from space that grew into large seed pods, which were capable of reproducing duplicate replacement copies of the good folks of Santa Mira. Each pod, as it reached full development, could assimilate the physical characteristics, memories, and personalities of any sleeping person placed in close proximity.

What emerged from this duplication process were mere husks from which all human emotion had been snatched away from the sleeping citizens of a sleepy little town in a slumbering nation. 

Join us as we follow a local doctor, Dr Miles Bennell who attempts to uncover this invasion and hopefully stop it from spreading….

The introduction to Invasion of the Body Snatchers with its forceful and strident music heavy with brass instruments and drum roll suggests the approach of something ominous. The direction from which the danger is approaching is suggested by the sky-ward direction of the camera shot and the clouds rolling rapidly across the view.

A dishevelled and seemingly delusional Dr Miles Bennell has been arrested on a California highway and taken to the local hospital's psychiatric ward. There he pleads with a psychiatrist, Dr Hill and the attending physician, Dr Bassett, “You must listen! You must understand me! I’m not insane!” He then relates to them a story that “started last Thursday”…..

Flashback……

“Something evil had taken possession of the town.”

Miles had been called home to Santa Mira from a medical convention by his nurse, Sally Withers who told him that several patients had called in insisting that their relatives and friends were not who they seemed to be.

Jean Willes as Sally Withers

While driving to the office, Miles and Sally almost ran over young Jimmy Grimaldi who was fleeing from his mother. According to Mrs. Grimaldi, “It’s nothing, he just don’t wanna go to school.” Rather an understatement considering the level of Jimmy’s panic! Added to this, the Grimaldis had unexpectedly and uncharacteristically shut down their vegetable stand, apparently because it was too much work.

The mystery deepened when Miles learned that many of the patients no longer needed his services even though he was told by Sally that previously “they couldn’t wait to see you!”

Dana Wynter as Becky Driscoll

A fabulous vision of fifties femininity in the form of former girlfriend, Becky Driscoll wafts into the office. Becky informs Miles that her cousin, Wilma “has a…delusion” and believes that her uncle, Ira “is an imposter.” Miles assures her that he’ll visit Wilma later.

Later on, a terrified Jimmy Grimaldi is dragged kicking and screaming to Miles's office by his grandmother. He cries out “don’t let her get me!” and declares that his mother is not really his mother. For Miles, the suspicions grow as more dots are joined.

“There’s something missing.” 

Miles and Becky pay a visit to Ira and Wilma. Wilma’s highly expressive face tells the story and adds force to her belief that as far as she is concerned “that special look is missing” from Ira and that “there’s no emotion…just the pretence of it.” Miles explains away her concerns by suggesting that “the trouble is inside of you.” He also suggests that Wilma agrees to see a psychiatrist friend of his.

"Epidemic of mass hysteria?" 

Later that night on their way to dinner, Becky and Miles encounter the town psychiatrist, Dan Kauffman who mentions that he had seen many unusual cases of people claiming that their loved ones had somehow changed. He puts it down to it being a “strange neurosis” stemming from people “worrying about what’s going on in the world.”

The next scene reveals an empty restaurant, where Miles and Becky learn that it has “been this way for two weeks.” Suddenly Miles is called to the house of Jack and Teddy Belicec where they discover a seemingly lifeless and featureless parody of a human being on the pool table. Their jangled nerves (and ours) are given a further jarring when the cuckoo clock’s sudden clashing cacophony erupts into the tense breath-holding stillness of the scene.

The inert body has “all the features” of a man “but no detail.” Added to this mystery is its lack of finger prints. In answer to Jack’s wife’s question, “whose face…tell me that?” it slowly becomes obvious that the body is taking on Jack's features. We know the answer to the question posed, “How much does it weigh?” when it is discovered that It bleeds from a hand as did Jack when he cut his own on a piece of glass. As Miles tends to Jack’s cut, he almost ironically comments, “I’m afraid you may live.”

For the audience, Miles’s words to Jack now begin to take on new meaning when he takes Becky home to her father's house. Her father seems normal but notice as he emerges from his basement, stating that he was working in his workshop, the sinister sounding music suggests something far less innocuous. 

  

Now switch scenes to Jack’s place to hear his wife hysterically scream out to her husband, “It’s you! It’s you!” Suddenly she sees the body’s eyes snap open causing her to shriek out in a manner akin to Dr Frankenstein from a classic horror movie, “It’s alive! It’s alive!”

Carolyn Jones as Theodora "Teddy" Belicec

While Jack and his wife are at Miles’ place, Miles suddenly “had the feeling that Becky was in danger.” He quickly decides to rush over to the Driscoll place where he felt that “something was wrong in this house.” He then breaks into the basement and discovers another humanoid creature transforming itself into Becky. He soon discovers Becky asleep upstairs and carries her away from the house and danger.

“Reality becomes unreality”

Miles and Jack enlist the help of Dan Kauffman but both the bodies at the Belicecs' and Driscolls' are missing. Dan suggests that “what you saw was the body of a murdered man” in Jack's poolroom and that the lack of finger prints could be explained by the fact that the dead man “took them off with acid.” In addition, according to Dan, the cause of death had been too small for Miles to notice in his initial examination. He also explains that Miles thought he saw Becky's double because he had been so unnerved by the presence of the body at the Belicecs'. The conclusion: “The mind is a strange and wonderful thing!”

When Police Chief Grivett arrives at the Drisscoll house after being called by an indignant and outraged Mr Drisscoll, he informs the shame-faced gathering in the basement that a burning body matching the description of the mystery body at the Belicecs’ was found burning outside of town.

Everything seems to be back to normal until our hearts start to pump furiously when Miles hears a sound in the basement which turns out to be…….the gasman! Miles’ comment, “I guess I’m a little jittery” sums up the lingering pervasive fear that is generated by an event such as the one they experienced-real or not! Can even the gasman be trusted?

The next day things seem to be going well, perhaps too well. At “Le Grifon” antique shop, Wilma tells Miles that she feels better about Ira and doesn’t need to see Dan. Next, Miles sees Jimmy sitting happily next to his mother in his office waiting room! Sally makes the pertinent comment, “he certainly made a quick recovery.” If something seems too good to be true, it usually is….

“Something or someone wants this duplication to take place”

Later that night, at a barbeque with Becky and the Belicecs, Miles stumbles upon seed pods in his greenhouse. The pods open and disgorge unformed humanoids that begin to take on the form of those at the barbecue.

It is the pitchfork held by Jack that guides the camera and us to each of the bodies in turn. Miles hurriedly tries to call the FBI in Los Angeles, Sacramento and Washington D.C. but is not surprisingly told by the operator that “all circuits and dead or busy.” We don’t need three guesses as to why that is so!

Miles surmises that the pods may be the result of “atomic radiation” or they are some kind of “weird alien organism.” At any rate Miles destroys the creatures, but understandably struggles and hesitates when it comes to destroying the body that resembles Becky.

Miles and Becky and the Belicecs decide to split up and get help from outside of town. While Miles and Becky stop at a petrol station, Miles tries to reach the FBI again. As he does so, the gas station attendant places two pods in the boot of his car. Fortunately Miles was aware of what happened and he incinerates the pods further down the road.

The full horror of the alien invasion becomes apparent when at Sally's house Miles witnesses through a window that not only has Sally been transformed, but that she calmly acquiesces to having a seed pod placed in the crib of her newborn baby!

Suddenly Miles is discovered by a police officer and the chase is on as Miles and Becky are pursued by the police and numerous pod people.

In a marvellous piece of film noir, we have the couple being pursued through the dark shadows of streets made slick by a recent shower of rain.The suspense is heightened as Miles and Becky hide out in Miles's office. As they take cover behind a storage cupboard door, a guard or police officer peers through a grill set in the door. All the while their faces are lit from above by the light from the room outside coming in from the grill. Adding to the suspense and sense of danger, the scene is played out to the accompaniment of an ominous drum roll.

“It’s a malignant disease spreading through the whole country.”

Miles and Becky understand that the pods’ ability to function effectively depends upon people being blissfully asleep and therefore….unaware. Realizing that they can’t close their eyes all night, Becky and Miles take amphetamines to stay awake. Meanwhile, Miles ponders on how it is possible that we can “let humanity drain away,” and how we can “harden our hearts” and grow callous.”

The next morning could almost be “just like any Saturday morning.” Except on this day Miles and Becky witness through a window an almost (I will not use the word surreal!) bizarre scene from a slow-motion movie or dream as people from all around move as one toward at a large traffic island where they gather.

Miles sees people that he has known all his life and knows by name now obviously transformed accepting pods to distribute to their relatives in nearby cities. “Newtown – third truck!” While this is going on the suspense is ramped up by the incessant ringing of the telephone.

Suddenly Jack, Dan and Chief Grivett enter the office and it soon becomes apparent that they have all been transformed. Jack and Dan inform Miles and Becky they can’t let them go as “you’re dangerous to us.” They go on to explain that “out of the sky came a solution,” that the transformation was painless and that soon everyone will be reborn into a better way of life “where everyone is the same.” In this new form of existence, “there’s no need for love…only the instinct to live.” Any attempt to contradict or argue with this proposition is curtailed with the comment, “You’re forgetting something Miles. You have no choice.” Becky retorts with a burst of emotion, “I want to love and be loved” and seals this with a passionate kiss with Miles.

Jack and Dan have brought pods into Miles's waiting room. While locked in the office with Becky, Miles fills three syringes with a sedative. He then creates a diversion that brings Dan and Jack into the office allowing Miles to overpower and drug them with Becky’s help.

Becky and Miles leave the office and pretend to have been transformed by appearing emotionless, Becky, however, betrays her emotions when she witnesses a truck almost hit a dog and cries out in concern.

To the accompaniment of the harsh blaring of the town’s siren, the chase is on again as the pod people pursue Becky and Miles into the hills surrounding Santa Mira. They try to evade capture by hiding out in an abandoned mine. Suddenly and unexpectedly, the sound of beautiful singing is heard. Becky declares, “I’ve never heard anything so beautiful.”

Miles leaves Becky to investigate and try to find help. In a bizarre and unexpected twist, Miles soon discovers that the music is coming from radio station KLCAA’s “platter parade” and is emanating from a truck radio and that the truck is being loaded with pods!

Miles returns to the mine and calls for Becky. We know she has fallen asleep and our fears are confirmed by her tone of voice when she replies, “I’m here, Miles.” Miles tries to carry her to safety but when he kisses her it is obvious from the look of horror etched on his face that she had been transformed. Pod-Becky tells him to “stop acting like a fool….and accept us.” As Miles begins to run away, Pod-Becky screams out, He’s in here! He’s in here! Get him!”

“You fools. You’re in danger!”

Miles’ narration informs us that his only hope is to get away from Santa Mira, “to warn others of what was happening.” With pod people in pursuit, Miles makes for the highway where he becomes a lone solitary voice pleading with motorists to stop. However, the tide of cars moves inexorably on in the same direction heading for the same fate as intimated by a truck full of pods making its way towards Los Angeles. Like a mad-man Miles is left to wander the highway, ranting and raving, "They're already here! You're next!"

And so the flashback ends and we return to the point from which our story started. Dr Hill and Dr Basset conclude that Miles is insane and must undergo treatment. Suddenly an ambulance stretcher is brought in containing a truck driver who has been involved in an accident. As fate would have it, his truck was carrying a load of unusual pods, and had also been on the road from Santa Mira. It appears that Miles is telling the truth and Dr. Hill immediately arranges to call the police, every law enforcement agency and the FBI.

Points Of Interest

In 1994 Invasion of the Body Snatchers was selected for preservation in the United States National Film Registry by the Library of Congress for being "culturally, historically, or aesthetically significant."

One difference between the original novel by Jack Finney and the film’s screenplay is that the novel ends with the alien invader eventually leaving Earth in the face of strong resistance from the humans. In addition, the "pod people" have a limited life span of no more than five years.


It was originally intended to have Invasion of the Body Snatchers shot over a 24-day period on a budget of US$454,864. It was later proposed to reduce this to 20 days of shooting on a budget of $350,000. However, the film did eventually go three days over schedule.

Sierra Madre, Chatsworth, Glendale, the area around Los Feliz, Bronson and Beachwood Canyons, were locations used to make up the town of "Santa Mira" for the film. Much of the film was also shot in the Allied Artists studio on the east side of Hollywood.

It was also originally intended for the film to be called The Body Snatchers, but it too closely resembled the title of the 1945 Val Lewton film, The Body Snatcher. They Come from Another World was selected followed by Better Off Dead, Sleep No More, Evil in the Night and World in Danger. Finally, the studio settled on Invasion of the Body Snatchers in late 1955.

The film was originally meant to end with Miles frantically screaming as truckloads of pods pass him by but the studio insisted on a less pessimistic conclusion by adding a prologue and epilogue to the movie suggesting a more optimistic outcome to the story. And so we begin with a ranting and raving Miles Bennell in custody in a hospital emergency ward. He then via flashback tells his story. In the closing at a highway accident, Miles’ warning is confirmed by the presence of pods. Finally, the Federal Bureau of Investigation is notified, suggesting that there is a chance to save the Earth.

The film made more than $1 million in the first month, and in 1956 made more than $2.5 million in the U.S.

Director Don Siegel started off at Warner Bros. doing special effects on such films as Casablanca (1942) and Edge of Darkness (1943). His first feature as director was the Sidney Greenstreet classic, The Verdict in 1946 and then in 1954 he directed Walter Wanger's classic prison drama, Riot In Cell Block 11.

Don Post and Milt Rice's special make-up effects and props produce the required menacing and threatening effect without overdoing things with too much detail.

Invasion of the Body Snatchers is one of those films that should not be tampered with by having it colourized. The black and white photography, specific use of shadow and editing all combine to add to the menacing mood, claustrophobic atmosphere and frantic pace of the film. Added to this is Kevin McCarthy’s skill at conveying his character’s mental, emotional and physical struggles to uncover the mystery and take the audience along with him.

The film has many facets leading viewers to see it as presenting different or conflicting messages and ideas. For some people. it can be seen as being a commentary on the dangers facing America for being blind to the danger posed by McCarthyism and its associated anti-communist paranoia involving fear of communist infiltration of America of the time.

For others, Invasion of the Body Snatchers can also be seen as highlighting the trend towards conformity and the loss of personal autonomy and freedom, then seen as being part and parcel of life under a Soviet or communist system.

Even in our own times in the early part of the 21st Century, the film has resonance for us as we grapple with forces that seek to dehumanize and rob the individual of his / her identity. We worry about people’s ability these days to feel pain, sorrow and empathy for their fellow human beings.

In our modern world, what is it that defines our individual personal identity? Just who is each of us really? Is it determined by how we look or act? Is it indicated by what we say or think? Or is it truly reflected in our capacity to love, to feel compassion and express emotion?

Now more than ever we need to heed Miles Bennell’s warning; 

THEY'RE HERE, ALREADY! YOU'RE NEXT!

Each of us needs to be aware that there is a fine line between having one’s identity and individually influenced by other people, institutions and social, historical and political forces and having one’s identity and individuality subsumed, crushed and replaced by such forces with something that suits their interests. While we slumber, it can be all too easy for us to sleepwalk and be led into ways of looking, saying, thinking, believing, acting and relating by political parties, systems, ideologies and entities; media; religious / sectarian groups; military; corporations; gangs; family, tribal and peer groups and so on.

And so, how do we reclaim any sense of our true personal identity and individuality, if there is such a thing? Possibly part of the answer may lie in our understanding that,

“Only when we have to fight to stay human do we realise how precious it is to us, how dear.”

©Chris Christopoulos 2015

It Conquered the World (1956)

An entertaining & well-acted classic Corman low budget gem

Produced & Directed by Roger Corman
by Roger Corman
Written by Lou Rusoff, Charles B. Griffith
Music by Ronald Stein
Cinematography: Fred E. West
Edited by Charles Gross
Distributed by American International Pictures
Running time: 71 minutes

Cast

Peter Graves: Dr. Paul Nelson
Lee Van Cleef: Dr. Tom Anderson
Beverly Garland: Claire Anderson
Sally Fraser: Joan Nelson
Russ Bender: General James Pattick
Taggart Casey: Sheriff N.J. Shallert
Karen Kadler: Dr. Ellen Peters
Dick Miller: First Sergeant
Jonathan Haze: Corporal Manuel Ortiz
Paul Harbor : Dr. Floyd Mason
Charles B. Griffith: Dr. Pete Shelton
Thomas E. Jackson: George Haskell

Spoilers Follow....

It Conquered the World concerns an embittered human scientist who guides an alien creature called Zontar from Venus to the Earth, so that it can bring peace to our troubled world by ridding humankind of its feelings and emotions. The scientist, however, is totally oblivious to the terrible consequences of his actions.

The alien creature from the planet Venus secretly wants to take control of the Earth by enslaving humanity using mind control devices and as part of its nefarious plan, it makes radio contact with the disillusioned scientist who agrees to help. Our well-meaning but naïve scientist believes this alien intervention will bring peace to the world and save humanity from itself and its inevitable demise.

Trailer

A “what if?” imaginary synopsis of It Conquered The World by the film’s director, writers and cast: 

Corman: Well, we begin the film with credits rolling, along with a strident music score by Ronald Stein and a horizontal white line of the type that you see across monitor screens. This seamlessly transitions to a screen in a satellite launch and monitoring control room. Do we now have your attention?

Karen Kadler: My character, Ellen Peters announces that an unidentified object has been spotted. My colleague, Pete Shelton played by Charles B. Griffith declares that all aircraft should have been out of the area twenty minutes ago. Just three minutes from launch, our project manager, Dr Paul Nelson played by Peter Graves observes that a commercial airliner is just off course. He also proudly announces that “man is finally ready to move into space.”

Lee Van Cleef: Meanwhile in Washington, D.C., Secretary Platt played by Marshall Bradford is meeting with my character, Dr Tom Anderson. From my point of view as Anderson, I’m there to plead with Platt to cancel the satellite project. I was not all that surprised when told that the first satellite launched had exploded in orbit. I knew that "It was a warning” which I had already anticipated three years before the launch. I firmly believe that "alien intelligence watches us constantly." Imagine how I felt when I was told the satellite had already been launched!

Peter Graves: My character, Paul Nelson and his wife Joan are later having dinner at the Andersons’ home, As we finish dinner, I state that the satellite has been in orbit for three months and all is well. Joan gets a bit annoyed with all the shop talk, but Tom’s wife, Claire played by Beverly Garland is more concerned about Tom and his delusions.

Tom draws me over to his radio, tunes in a station and informs me that the sound he is now hearing is the planet Venus. He then asks me to “listen to it…..Listen to the voice.” What can be heard appears to be nothing but humming and static. What would you think if you were in my place?

As if on cue, the phone rings. The project informs me that the satellite left its orbit and has flown out into space. From my character’s perspective, this simply means that “the scientific achievement of the 20th Century has disappeared.”

My wife and I quickly leave the Anderson’s and drive to the nearby installation where I’m told by Pete Shelton that "its back". I confidently state we’ll bring the satellite down for a full examination.

Beverly Garland: Early the next morning my character, Claire Anderson discovers her husband at the radio set in the living room talking to something or someone on board the satellite. My husband informs me that the creature from Venus is on the satellite and will be coming to Earth “to save us.” Picture what I’m thinking and feeling as my husband tells me that it’s what he’s” been predicting for years” and that ‘it’s good!”

Lou Rusoff: We continued the story with the team bringing the satellite back the next day, but not without a hitch! Instead of the satellite returning to the designated landing area, it crash lands ten miles south of the Anderson home, in the vicinity of a cave and hot springs. The location’s importance becomes apparent later on in the story.

Beverly Garland: Out of the blue Tom tells me, "he's alive, he survived the crash!" What else could I say at this point but, "Tom, you’re a sick man." All that my character Claire could think to do was go into town and hope that Tom would be better when she returns.

Corman: OK, so the Venusian creature that we see exiting the satellite looks like a cross between a giant pickle and some kind of deformed crustacean! I didn’t have a million bucks like Conquest Of Space, This island Earth or Forbidden Planet to make this film you know. Still, if Klaatu from The Day The Earth Stood Still could do it, Paul Blaisdell's alien pickle could also cause electricity all over the world to fail! And it wouldn’t cost us an extra buck!

Anyway, I firmly believe that my alien depiction will seem quite conservative when the time comes for us to make contact with alien species who will no doubt come in an infinite diversity of forms.

Lou Rusoff: The story continues with the Nelson car stopping on the road and the power off at the installation, along with the phones not working. To add to the tense atmosphere, we had Ellen Peters remark on how quiet it is, while her colleague, Floyd Mason played by Paul Harbor reminds her that “it is always quiet in these mountains,” to which comes the retort, “Not this quiet.”

Corman: We included other elements in the film to ratchet up the pace, suspense and tension such as;

• 3:03 p.m. being the time when all the clocks stopped. 
• Eight people on a list who are destined for mind control devices.

• Bat-like flying devices that home in on their prey and sting them leaving an electrical device embedded in their neck, which is what happens to the sheriff, the symbol of town authority. General Pattick, another symbol of protection and authority while walking to headquarters, encounters one of these flying bat-creatures and is also stung by it. Both men are now under the control of the Venusian. (I kinda think our little bat creatures looked pretty neat!) 
• Panic erupting among the people in town. 
• No communication with the outside world as the wire service has broken down. 
• Anderson possessing the only working vehicle and water supply despite the fact that that electricity, combustion engines and regular water supply have been disabled.

Lee Van Cleef: You know, after watching this film, some people have told me that I’ve got the kind of stare that can flail the skin off people and pierce their souls. Hhmm. Might prove to be useful in future roles? I’m thinking...westerns perhaps?

Van Cleef day dream

Corman: Ah, Lee…The story…..

Lee Van Cleef: Anyway, after my character Anderson tells Nelson about what’s been going on, Nelson doesn't believe him and asks me why I haven’t been resisting the alien. I tell him that the Venusian is here on Earth to “rescue mankind from itself,” not to conquer the Earth. The way I see it, it is human stupidity that “restrains Man’s progress” and I’m firmly convinced that what the Venusian is offering is “ultimate freedom.”

After all, how often have we seen instances of people convincing themselves of the truth of something, no matter how delusional, which then can often assume its own sense of logic and becomes a part of their own world view? Any argument or facts to the contrary are dismissed out of hand, even as something as reasonable as Paul’s statement; “I’d have to take a look at anything that would change the world and me so completely.” Good advice for any generation….

Corman: You guys know me and how I like to keep the action in my films rolling and carry the audience along with it. Well, these days the audience is pretty darn fearful of possible invasions from foreign powers and Communist conspiracy threats and such. This will always be the case. If it’s not fear of Communists like we have today, it’ll be of something else in the future. Fear and playing on that fear is such a powerful motivating and manipulative force. So, in the film back at the installation we have General Pattick informing the technicians that, "We’re in the midst of a Communist Uprising” and that “they've sabotaged every power source in the area." He then orders the staff to remain at the installation while the city of Beachwood is evacuated.

Lou Rusoff: The action continues with Nelson’s wife, Joan being stung by a bat creature. Then the newspaper editor of The Clarion, (our symbol of the freedom of the press, information and ideas) Haskell is cruelly shot by the Sheriff for refusing his order to get out of town and in order to put an end to his paper’s “stack of ideas and notions.”

The Sheriff tells Nelson he is going to place him under “protective custody,” when he confronts the sheriff over the shooting of Haskell. After a physical struggle with Nelson, the sheriff, under orders from the Venusian, tells Nelson, "you're to be one of us...Get up, you're free."

Notice the euphemisms and Orwellian use of language: “protective custody” in place of “imprisonment” or “detention.”; a state of collective servitude and control being equated with being “free” and the current state of affairs where “There are no victims,” only “The Released.”

I guarantee that even 60 years from now you’ll see similar elements to what I have just described being played out but in a different context and set of circumstances.

Peter Graves: My character, Nelson arrives to find the installation closed. I find General Pattick there and he informs me that the staff was relocated (another euphemism Lou?) to a nearby air base and that I, along with my wife, should join them. As the general offers me a ride in the jeep, I begin to feel that something is wrong. I feel compelled to act so I hit the general on the back of the neck with my gun, throw him out and take over the jeep.

Lee Van Cleef: Nelson drives up to my house where he confronts me and accuses me of being a murderer. I confess to Nelson about my role and try to convince him about the positive aspects of the alien’s ultimate plan for humanity. Before he left, Nelson merely called me a traitor who is not just “betraying part of mankind” but is “betraying all of it.” He’s an intelligent man. Then why can’t he see the benefit to humanity that will result from assisting the Venusian? According to Claire I just “had an undeserved stay of execution" as Nelson had a gun on me! If I knew that I would have stared him to death! Ha! Ha!

Corman: Killer stares? Don’t be silly Lee. Flying bat control devices! Now, that’s something! Fits in beautifully with the action and drama about to be unleashed as Nelson arrives late to his house after having to use a bike when his jeep stopped running. Not realizing that the lights are on, both outside and inside the house, he is greeted by his wife. Joan is behaving strangely (even for a wife) and is concealing a control device which she throws at her husband. She then calmly takes off for a walk leaving Nelson to go a few rounds with the control device. It rapidly degenerates into a no disqualification match with Nelson impaling and killing the aerial varmint.

Sally Fraser: Ever heard the term, “Better off dead than Red?” Well, that’s given new meaning when my character Joan Nelson returns from her walk expecting her husband to be like her: controlled for the rest of their lives. As soon as I tell him that will in fact be the case, he shoots and kills me!

Corman: Now think for a moment about what it must take for a husband or wife to take the life of their spouse in the belief that they are saving them from something far worse than death itself! A scenario almost too horrible for an audience to contemplate….

Beverly Garland: It transpires that my character’s husband has been directed by the alien to kill Nelson as he “knows what he is fighting for and must be killed.” I feel I must find out as much as I can about the Venusian and try to prevent Tom from carrying out the alien’s orders.

I manage to find out that the Venusian is located at Elephant Hot Spring cave because he needs a climate similar to his home planet, Venus. I also discover that Joan has been controlled.

Karen Kadler: What Claire doesn’t know is that back at the installation, two of the control devices were used on Pete and Floyd. My character, Ellen wakes up and notices that the power is back up and all the equipment is functioning. While going to make coffee I notice two dead control devices. Suddenly, Floyd gabs my neck with both of his hands and that’s the end of me. I tell you it was mighty cold lying on that floor considering how little I was wearing! I guess there was a reason for that......?

Beverly Garland: Now, we come to a part of film that I’ll remember for a long time to come. I really wanted to throw as much feeling, emotion and drama into my role as the script and story would allow.

After my husband refuses to listen to my appeals, he leaves the house to meet Nelson outside. In a rage I contact the alien on the radio and threaten to kill it. I take the rifle that Tom left on top of the radio and leave the house. I then steal Joan's station wagon and take off to confront the Venusian at the cave.

Peter Graves: Meanwhile, my character, Nelson informs Anderson that Joan is dead. I tell him I felt that “she wasn't my wife; She was a product of (Anderson’s) work."

Beverly Garland: While you were questioning Anderson, I entered the cave looking for the source of all this misery and mayhem. I manage to find the fiend and confront it with feelings and words of rage and defiance. I mock it with “Hiding in a cave; afraid of light?” I challenge it to "go on try your intellect on me...you think you're going to make a slave of the world...I'll see you in hell first." I empty my magazine clip of resistance by declaring, “I still have the courage of my convictions” and “I hate your guts….I’m going to kill you!”

I then empty the rifle’s magazine into the creature but with no effect. At least I meet death standing and defiant instead of living obediently in servitude on my knees.

Peter Graves: Yes, both Nelson and Anderson hear it on the radio back at your house. It seems to trigger something in Anderson who decides that he will help by going to the cave and kill the creature.

Corman: Now, the energy of this film is maintained from the death of Claire in the cave by a quick succession of quite entertaining scenes;

The comical Pvt Ortiz, who while looking for food, hears Claire's screams, enters the cave and fires at the creature. He manages to escape and returns to his unit to report on what has happened. 

BANG! 

Nelson discovers Ellen's body at the installation, enters an office and shoots Pete, Floyd and General Pattick who is only wounded. 

BANG! 

Anderson, meanwhile comes across the Sheriff blocking the road leading to the cave. The Sheriff fires at Anderson, but Anderson circles around on foot and barbecues him with a portable blow torch. 

BANG! 

The wounded Gen. Pattick heads for the cave in a jeep but is ambushed by Nelson who is now on foot. Nelson manages to shoot and kill the general.

BANG! 

While Nelson drives to the cave, the army boys have entered the cave and open fire on the Venusian, but this just makes it grumpier and draws it outside. A bazooka is then employed but this just puts the alien in a really foul mood.

BANG! 

A touch of redemption along with payment for past sins is always a good touch to add. And so we have Anderson on the scene ordering a cease fire. He decides to flame grill the Venusian with his blow torch (and death stare) but it attacks and kills him before it too dies.

BANG!

We finally end with Dr. Paul Nelson's closing observation about Dr. Tom Anderson and others like him who…….

Peter Graves: Let me get this one Roger. I think I still remember it:

"Man is a feeling creature, and because of it the greatest in the universe. He learned too late for himself that men have to find their own way, to make their own mistakes. There can't be any gift of perfection from outside ourselves. When men seek such perfection they find only death, fire, loss, disillusionment and the end of everything that's gone forward. Men have always sought an end to our misery but it can't be given, it has to be achieved. There is hope, but it has to come from inside, from Man himself."

Lee Van Cleef: Hey Roger! You got any westerns in the pipeline?

A Van Cleef Day Dream

Corman: I’ll let you know Lee; I’ll let you know……

Points Of Interest

There’s no escaping the fact that It Conquered The World was a low budget movie with special effects to match that will cause audiences to chuckle. This is more than made up for by the film’s energy and its surprisingly above- average cast.

Peter Graves will always be remembered as Mr. Phelps from the TV series, 'Mission: Impossible.' In It Conquered The World, Robert Graves gives a solid performance as the scientist who maintains his integrity despite his friendship with his friend and fellow scientist turning sour due to the latter’s misguided betrayal of the human race.

Van Cleef we know from his work in movies such as 'The Good, The Bad And The Ugly' and 'Death Rides A Horse'. In It Conquered The World, Van Cleef gives a strong performance as an obsessed, disillusioned and bitter scientist who is intent on selling his soul to an alien devil.

Stunning Beverly Garland gives an excellent performance as a desperate wife struggling in vain to drag her husband away from the precipice he is about to fall from to be swallowed up by an abyss of evil. As Garland confronts her husband and the Venusian, we cannot help but almost yell out to her, “Go Girl!”

In 1966 there was a why-bother remake by Larry Buchanan called "Zontar the Thing from Venus."

Despite its shortcomings, the film works on many levels including interesting characters and the moral choices they make, complex and thoughtful plot, playing on ‘50s Cold War fears, and so on.

If there was a Royal Society for the Prevention of Cruelty to Aliens, Zontar would receive its protection considering how many times he was shot, bazookad and blow-torched! Zontar was seen as being an animal who was being subjected to extreme violence. This was why the movie was originally given an 'X' rating in England, and nearly banned. The movie's director argued that the alien was not in fact an animal, but was instead an intelligent being. On this basis the ban was removed.

Roger Corman came up with the idea for the design of the creature believing that since Zontar came from a big planet, it would have evolved to cope with heavier gravity than Earth's gravity and would appear to be somewhat squat in stature. Paul Blaisdell who built the creature thought that the camera would make it look bigger. Just how frightening it was can be judged from Beverly Garland’s reaction when she first saw the creature: "THAT conquered the world?" together with her kicking 'It' over…….

©Chris Christopoulos 2015