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Invasion of the Body Snatchers is a 1956 American science-fiction horror film produced by Walter Wanger, directed by Don Siegel, and starring Kevin McCarthy and Dana Wynter. The black-and-white film was shot in 2.00:1 Superscope and in the film noir style. Daniel Mainwaring adapted the screenplay from Jack Finney's 1954 science-fiction novel The Body Snatchers.[2] The film was released by Allied Artists Pictures as a double feature with the British science-fiction film The Atomic Man (and in some markets with Indestructible Man).[3]
The film's storyline concerns an extraterrestrial invasion that begins in the fictional California town of Santa Mira. Alien plant spores have fallen from space and grown into large seed pods, each one capable of producing a visually identical copy of a human. As each pod reaches full development, it assimilates the physical traits, memories, and personalities of each sleeping person placed near it until only the replacement is left; these duplicates, however, are devoid of all human emotion. Little by little, a local doctor uncovers this "quiet" invasion and attempts to stop it.
The slang expression "pod people" that arose in late 20th-century U.S. culture refers to the emotionless duplicates seen in the film.[2] Invasion of the Body Snatchers was selected in 1994 for preservation in the United States National Film Registry by the Library of Congress for being "culturally, historically, or aesthetically significant."[4][5]
A psychiatrist, Dr. Hill, is called to the emergency room of a Los Angeles hospital, where a highly agitated man is being held in custody. The man identifies himself as a doctor, and recounts the events leading up to his arrest and arrival at the hospital.
In the town of Santa Mira, Dr. Miles Bennell sees a number of patients apparently suffering from Capgras delusion, the belief that their relatives have been replaced with identical-looking impostors. Returning from a trip, he meets his former girlfriend, Becky Driscoll, who has recently come back to town after a divorce. That evening, Miles and Becky are urgently called to the home of Bennell's friend, Jack Belicec, who has found what appears to be a dead body in his home. Inexplicably, it has no discernible facial features or fingerprints. To their horror, within a short period of time, it begins to take on the exact physical features of Belicec. Later, another body is found in Becky's basement that is her exact duplicate. When Bennell calls psychiatrist Dr. Dan Kauffman to the scene, the bodies have mysteriously disappeared.
The following night, Bennell, Becky, Jack, and Jack's wife Teddy find duplicates of themselves emerging from giant seed pods in Bennell's greenhouse. They conclude that the townspeople are being replaced while asleep with exact physical copies. Bennell tries to make a long-distance call to federal authorities, but the phone operator claims that the lines are all busy and he cannot be put through, so Jack and Teddy drive off to seek help in the next town. Bennell and Becky realize that all of Santa Mira's inhabitants have been replaced and are devoid of any sort of humanity. They hide at Bennell's office for the night, vowing to stay awake so as not to be replaced by their duplicates.
The next morning, truckloads of the giant pods arrive in the town center. Becky and Bennell listen as police chief Nick Grivett directs the others to take them to neighboring towns to be planted and used to replace their populations. Kauffman and Belicec, both of whom are now also "pod people," arrive at Bennell's office with new pods for Becky and Bennell. They reveal that an extraterrestrial life form is responsible for the invasion. After their takeover, humanity will lose all emotions and sense of individuality, creating a simplistic, bleak world.
After scuffling with and knocking out the duplicate Kauffman, Belicec, and Grivett, Bennell and Becky escape from the office. Outside, they pretend to be emotionless pod people. After seeing a dog dart out into traffic, Becky screams and her reaction exposes their humanity. A town alarm is sounded and the couple flees on foot, pursued by the pod people.
Exhausted, they manage to escape and hide in an abandoned mine outside town, struggling to stay awake. Later, they hear music, and Bennell leaves Becky briefly to investigate. Over a hill, he sees a large greenhouse farm with hundreds of giant seed pods being loaded onto trucks. Bennell returns to tell Becky. Upon kissing her, Bennell realizes, to his horror, that she fell asleep before he returned and is now one of them. Becky sounds the alarm as Bennell runs away, eventually finding himself on a crowded highway. After seeing a transport truck bound for San Francisco and Los Angeles filled with the pods, he frantically screams at the passing motorists, "They're here already! You're next! You're next!"
Back at the hospital, Bennell finishes his story. Dr. Hill and the on-duty doctor step outside into the hallway, the latter expressing his certainty that Bennell is psychotic. A truck driver is wheeled into the hall on a gurney after having been badly injured in an accident; the attendant recounts that the man had to be dug out from under a load of giant pods coming from Santa Mira. Finally believing Bennell's story, Dr. Hill alerts the police to block the roads in and out of Santa Mira; the film ends with Bennell relieved as Hill calls the Federal Bureau of Investigation.
Jack Finney's novel ends with the extraterrestrials, who have a lifespan of no more than five years, leaving Earth after they realize that humans are offering strong resistance, despite having little reasonable chance against the alien invasion.[2]
Invasion of the Body Snatchers was originally scheduled for a 24-day shoot and a budget of US$454,864. The studio later asked Wanger to cut the budget significantly. The producer proposed a shooting schedule of 20 days and a budget of $350,000.[6]
Initially, Wanger considered Gig Young, Dick Powell, Joseph Cotten, and several others for the role of Miles. For Becky, he considered casting Anne Bancroft, Donna Reed, Kim Hunter, Vera Miles, and others. With the lower budget, however, he abandoned these choices and cast Richard Kiley, who had just starred in The Phenix City Story for Allied Artists.[6] Kiley turned the role down and Wanger cast Kevin McCarthy, an Academy Award nominee five years earlier for Death of a Salesman, and relative newcomer Dana Wynter, who had done several major dramatic roles on television.[7]
Originally, producer Wanger and Siegel wanted to film Invasion of the Body Snatchers on location in Mill Valley, California, the town just north of San Francisco, that Jack Finney described in his novel.[6] In the first week of January 1955, Siegel, Wanger, and screenwriter Daniel Mainwaring visited Finney to talk about the film version and to look at Mill Valley. The location proved too expensive, and Siegel with Allied Artist executives, found locations resembling Mill Valley in the Los Angeles area, including Sierra Madre, Chatsworth, Glendale, Los Feliz, Bronson, and Beachwood Canyons, all of which went on to make up the fictional town of "Santa Mira" for the film.[6] In addition to these outdoor locations, much of the film was shot in the Allied Artists studio on the east side of Hollywood.[2]
Invasion of the Body Snatchers was shot by cinematographer Ellsworth Fredericks in 23 days between March 23 and April 27, 1955. The cast and crew worked a six-day week with Sundays off.[6] The production went over schedule by three days because of the night-for-night shooting that Siegel wanted. Additional photography took place in September 1955, filming a frame story on which the studio had insisted (see Original intended ending). The final budget was $382,190.[2]
The project was originally named The Body Snatchers after the Finney serial,[9] but Wanger wanted to avoid confusion with the 1945 Val Lewton film The Body Snatcher. The producer was unable to come up with a title and accepted the studio's choice, They Come from Another World and that was assigned in summer 1955. Siegel objected to this title and suggested two alternatives, Better Off Dead and Sleep No More, while Wanger offered Evil in the Night and World in Danger. None of these was chosen, and the studio settled on Invasion of the Body Snatchers in late 1955.[9] The film was released at the time in France under the mistranslated title L'invasion des profanateurs de spultures (literally: Invasion of the defilers of tombs), which remains unchanged today.[10]
Wanger wanted to add a variety of speeches and prefaces.[11] He suggested a voice-over introduction for Miles.[12] While the film was being shot, Wanger tried to get permission in England to use a Winston Churchill quotation as a preface to the film. The producer sought out Orson Welles to voice the preface and a trailer for the film. He wrote speeches for Welles' opening on June 15, 1955, and worked to persuade Welles to do it, but was unsuccessful. Wanger considered science-fiction author Ray Bradbury, instead, but this did not happen, either.[12] Mainwaring eventually wrote the voice-over narration himself.[9]
The studio scheduled three film previews on the last days of June and the first day of July 1955.[12] According to Wanger's memoranda at the time, the previews were successful. Later reports by Mainwaring and Siegel, however, contradict this, claiming that audiences could not follow the film and laughed in the wrong places. In response, the studio removed much of the film's humor, "humanity," and "quality," according to Wanger.[12] He scheduled another preview in mid-August that also did not go well. In later interviews, Siegel pointed out studio policy was to not mix humor with horror.[12]
Wanger saw the final cut in December 1955 and protested the use of the Superscope aspect ratio.[9] Its use had been included in early plans for the film, but the first print was not made until December. Wanger felt that the film lost sharpness and detail. Siegel originally shot Invasion of the Body Snatchers in the 1.85:1 aspect ratio. Superscope was a post-production laboratory process designed to create an anamorphic print from nonanamorphic source material that would be projected at an aspect ratio of 2.00:1.[9][13]
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