by Steve Habrat
One of the best science-fiction thrillers from the 1950’s is without question 1956’s Invasion of the Body Snatchers, a paranoid creep out of a movie that follows a small town whose residents are being turned into emotionless drones by pods from outer space. It is a gloomy affair, boasting one hell of a bleak climax that features our hero screaming; “They’re here!” on a clogged highway filled with trucks transporting the cloning pods to other communities. It was a film that did not need a remake, let alone two remakes but that is Hollywood for you. While one of those remakes is really bad (2007’s The Invasion), one happens to be really, really well done. Philip Kaufman’s 1978 Invasion of the Body Snatchers is an unforgiving film, one with paranoia that surpasses the ’56 original in ways you can’t fathom. He accomplishes this through simple close-ups that repel the viewer, turning every shot of a leaf, flower, or human face into psychological torture that will practically have you tearing your hair out in dread. I can guarantee that you will never look at a plant the same way again.
Invasion of the Body Snatchers picks up on an unidentified planet that appears to be dying. The alien beings, which appear to be gel-like suds, begin drifting through the galaxy where they finally end up on earth. These gel-like suds are washed to earth in a rainstorm and end up in San Francisco. The suds grow into ugly pod-like flowers that catch the eye of Elizabeth Driscoll (Played by Brooke Adams), an employee at the San Francisco health department, who takes one of the flowers home to identify it. She shows the flower to her boyfriend, Geoffrey (Played by Art Hindle), who is equally perplexed by the flower. The couple leaves the flower on their nightstand in a glass of water and the next morning, Elizabeth awakens to Geoffrey cleaning up a broken glass and acting extremely distant. Concerned, Elizabeth confides in her friend and fellow health department employee Matthew Bennell (Played by Donald Sutherland), who attempts to calm Elizabeth and suggests that she speak to his friend and psychologist David Kibner (Played by Leonard Nimoy). The next day, Matthew hears a strange story from the owner of Chinese Laundromat that he frequents. The man tells Matthew that his wife isn’t acting like his wife anymore. As more and more stories emerge about people not being themselves, Matthew and Elizabeth begin trying to uncover what all the hysteria is about, only to make a horrifying discovery that there may be extraterrestrial beings walking among us, looking to clone us, and erase all human emotion.
While the ’56 version slowly crept up on you from the shadows, the ’78 version of Invasion of the Body Snatchers doesn’t slowly mount the tension. There is something off about this film in the opening scenes of the alien suds washing down to earth. It helps that the soundtrack, which is filled with spacey chimes, fries your nerves down and makes you feel like you are plopped on a seat of pins and needles. From the first time we realize that there is something wrong with Geoffrey, our paranoia sets in and things get more unbearable from there. We are skeptical of every single person that walks onto the screen, right down to the individuals in the distant background. Director Kaufman knows that this film, with its surging no-one-believes-me jitters, can really mess with us psychologically. He knows we will be afraid of every single face we see and we will be second guessing everyone our protagonists come in contact with. When the pod-people finally reveal themselves, they make a horrible shrieking noise and they turn into sprinting zombies who will stop at nothing to get a hold of their victim. If you think they were creepy when they were lifeless drones, wait until you see them when they explode into this form.
Director Kaufman allows us to easily identify with the brainy heroes that are front and center in Invasion of the Body Snatchers. We can feel for their desperation in trying to get someone to believe them that something terrible is going on and we do not even realize it. The increasingly frantic pleas from Sutherland’s Matthew are especially scary, his fear increasingly more erratic as each second passes. The scenes when he stumbles around downtown San Francisco as people push past from all angles is appropriately claustrophobic (a nod to the tightly focused original film), like chilling conformity is crashing in from all sides. His fate is especially devastating, mostly because he puts up one hell of a fight to stay alive. Brooke Adams also grabs the viewer early on due to her pleas for someone to hear her out. Everybody just dismisses her suspicion, instead advising that she see a doctor, psychologist, or to just get some sleep. We root for her to keep her hope alive, even when her optimism is slowly fading away.
The supporting cast is just as awesome as the two leads, especially Hindle as Geoffrey, who will cut right through you with his icy stare. He is especially disturbing in the extreme close-ups that Kaufman chooses to show him in. Jeff Goldblum and Veronica Cartwright as Jack and Nancy Bellicec are equally pathetic as Matthew and Elizabeth. They form an alliance with Matthew and Elizabeth in trying to stay human after they have a memorable run-in with a slimy pod person that will have chills shooting up and down your spine. You will find yourself getting attached to this small band of survivors, making things even more piercing when one of them falls victim to the pod-people. Leonard Nimoy steals the show as David Kibner, who at first feels like there is some sort of reasonable explanation for all the hysteria but slowly comes around (Or does he?!).
Invasion of the Body Snatchers ’78 is a lot more disgusting than the ’56 original, especially a scene where the group goes to sleep and while they are out, strategically placed pods begin birthing clones of the group. Between the gasping and gagging sound effects and the graphically evocative visuals, it is not only the most terrifying scene of Invasion of the Body Snatchers but also the one that will stick with you the longest of any scene in the film. The extended chase at the end, with the group of fugitives on the run from a conformist holocaust are wonderful, each route that offers hope ending in a dead end of roaring and silhouetted monsters. There is also a brief glimpse of a mutant dog, another highlight that will equally make you giggle and give you the willies. Yet it ends up being the frantic hopelessness that is what will make you a nervous wreck while watching this ageless remake. For fans of the original Invasion of the Body Snatchers, keep an eye out for cameos from the original’s director Don Siegel as a taxi driver and star Kevin McCarthy as a man screaming his famous lines from the original’s climax. Overall, I still prefer the original Cold War/post-World War II suburban conformity that gripped the original to this strictly conformist-terror reimagining. The feeling that our backs were against the wall was greater in the original to this much larger vision of identity loss. Still, there is a lot to admire in Invasion of the Body Snatchers ’78, and lots to scare the living daylights out of you too.
Invasion of the Body Snatchers 1978 is available on Blu-ray and DVD.
by Steve Habrat
If you’ve gotten sick of playing Call of Duty: Nazi Zombies and you’ve worn out your copy of the Norwegian freak out Dead Snow, you are probably looking for a Nazi zombie fix and FAST. Fear not, my dear readers, for I have the movie for you and that movie is 1977’s Shock Waves, a deeply unnerving and hallucinatory vision that has traces of Lucio Fulci’s island terror in its veins and the cynical outlook of a George Romero zombie flick in its rotting brain. What Shock Wave lacks in blood and guts (there is barely any to be found here), it more than makes up for in unsettling mood and some thoroughly ghastly ghouls. Largely forgotten by many and relatively unknown by most, Shock Waves is a true gem of the horror genre— one that I seriously cannot believe did not leave a bigger mark on the zombie genre. With its premise, you’d expect a serious camp fest that glides by on tons of gooey entrails and spurting arteries but director Ken Wiederhorn would rather slowly wrap you up in a damp and slimy grip that will curl your toes.
Shock Waves picks up aboard a commercial pleasure yacht, where a small handful of tourists soak up the sun and bicker with each other. Aboard the boat is The Captain (Played by John Carradine), first mate Chuck (Played by Don Stout), boat chef Dobbs (Played by Luke Halpin), tourist Keith (Played by Fred Buch), pretty Rose (Played by Brooke Adams), and testy married couple Norman (Played by Jack Davidson) and Beverly (Played by D.J. Sidney). After an eerie orange haze consumes the afternoon sky, the boat’s navigation system is sent on the fritz and then quits working. That very evening, the boat nearly collides with a ghostly ship that suddenly disappears into the darkness. The next morning, The Captain is missing from the ship and it is discovered that the boat is taking on water. The rest of the passengers on the boat head for a scenic tropical island where they find a deserted hotel that is inhabited by a skinny old SS Commander (Played by Peter Cushing) who demands that they leave the island. The terrified group soon finds themselves stalked by mute and decaying Nazi “Death Corps” zombies who sport wicked pairs of goggles and have risen from the ruins of a mysterious wrecked ship that strangely appears just off the beach.
Quietly intense with dreamy hallucinatory images that at times feel strangely like mirages, Shock Waves quickly takes hold of you then slowly tightens its grip. Director Wiederhorn allows his camera to act almost voyeuristic as it creeps through the trees to spy on the zombies that pop up from the murky water. They are presented as paranormal specters that are silhouetted by the blinding sun reflecting off the water. At times, we see them from an extreme distance, marching in formation and turning to barely acknowledge their gaunt commander as he pleads with them to stop their meaningless slaughter. It was these scenes that made me fall in love with Shock Waves, the film just subtle enough while every once in a while, getting right in our faces so we can see its soggy decay. We never see any scenes of mass carnage, the zombies preferring to drown their victims instead of gnawing at their flesh and sucking on their entrails. That fact that the film remains eerily tranquil throughout, never getting frantic or hurrying is what really makes this film such an effective little adventure.
For a film with such a B-movie premise, the actors all do a fantastic job being believable. Peter Cushing is at his menacing best as a scarred monster that regrets his work within the Third Reich. Carradine is perfect for the cranky old fart of a Captain who refuses to believe that passengers saw a ghost ship sail by in the night. I wish we would have gotten more of him and I would have loved to see his reactions to all the supernatural spooks that manifest. Stout plays the typical strong silent type hero Chuck who is always saving Rose from certain death. He is the thin layer of glue that attempts to hold the crumbling group together. Adams, who is mostly asked to prance around in a yellow bikini, is nice eye candy and the climax allows her to play crazy (I won’t say anymore on that). Jack Davidson playing an over-opinionated car salesman who likes to tell the Captain how to do his job is another standout. You’ll be rooting for him to come face-to-face with the undead terrors.
Shock Waves, which was made in 1977, before Fulci’s Zombie and Romero’s Dawn of the Dead, is efficient with its hell-in-a-tropical-setting approach which it fuses with Romero’s beloved idea that our unwillingness to work together will be our downfall. A scene in which our small group is forced to put their backs against the wall is nice and claustrophobic, a scene that ends in a frenzied outburst and threats made from one group member to the other. The scene plays out much like the climax of Romero’s Night of the Living Dead, survivor pitted against survivor. Also notable is the way that Wiederhorn plays with the alien tropical island to give us the creeps. Much like Fulci’s Zombie, there is this heavy feel of supernatural forces at play, a trait that is expressed in the sudden moans of spacey electronics on the soundtrack. In fact, the film would play nicely in a zombie double feature with Night of the Living Dead, Dawn of the Dead, or Zombie. Sounds like something I may have to try myself.
I really can’t praise Shock Waves enough even though there are a few minor imperfections to be found throughout its hour and twenty-five minute runtime. Most of these blunders can be overlooked and really are not worth mentioning here. With strong direction (Those underwater shots are stupendous!), surprisingly strong acting from everyone involved, unforgettable cinematography (those grainy zombie silhouettes will stay with me for the rest of my days) and some tingling moments of sheer terror (a Nazi zombie standing a little too still behind a closing door while a blinded victim is oblivious to its presence), Shock Waves builds itself into a sopping wet funhouse of aquatic devils leaping up from shallow waters to drag our protagonists into a watery hell. For fans of the zombie genre, Shock Waves is a true must, one that, if you have never seen it, is a macabre surprise and one that will scare the living hell right out of you.
Shock Waves is available on DVD.