When I recommend multiple adaptations of the same story, I typically package them as double or triple features. But in this case, the remake of a classic film I have recommended is so well-made and so distinctly its own work of art that I grant it an essay of its own: the 1978 version of Invasion of the Body Snatchers.
Like the 1956 classic original, Philip Kaufman’s remake is based on Jack Finney’s popular novel The Body Snatchers, in which seed pods from another planet drift to earth and begin replacing humanity with soulless replicas. But Kaufman added his own twist, which was to move the story from a California backwater to modern day San Francisco, a city he knows very well. In doing so, he preserved the suspense and chills of the original story while also getting to show off the gorgeous City by the Bay while also gently parodying some of its self-consciously hip and alternative residents.
Our likable and believable heroes this time around are Donald Sutherland and Brooke Adams as dedicated public health department employees (Back when such people could afford lovely homes in San Francisco). W.D. Richter’s screenplay wisely never explains if they once were lovers, but the actors convey the romantic undertone of their relationship, even though she is, awkwardly, living with a guy who doesn’t quite seem to be himself lately.
There’s always a character in paranoia films who explains to the anxious protagonist why nothing is really amiss, it’s all in your head, and why not lie down and get some rest? Here that part is a San Francisco archetype, a psychological growth-touting guru, played perfectly by Leonard Nimoy. If you are going to be typecast, Spock is a fabulous role to have, but Nimoy didn’t get as much chance as he deserved to try other things.
As for the extraterrestrial nasties, kudos to the special effects and makeup teams for creating some unnerving aliens with gut churning reproductive habits. One wonders if the makers of the Alien films were inspired by this movie’s parasitic menaces. Combined with terrific pacing (something lacking in some of Kaufman’s other movies), the heroes’ battle to resist the invaders is edge of your seat stuff.
Another thing I cherish about this movie is that while it’s mainly in the sci-fi/horror genre, it has noir elements and cinematographer Michael Chapman shot it as such. As has been shown in many classic noirs, San Francisco was made for shadowy lighting, unusual camera angles, and lonely compositions, all of which Chapman artfully employs here.
Last but certainly not least, this film breaks away from its classic predecessor in many respects, but at the same time stays reverent to it. Most notably, both the star (Kevin McCarthy) and director (Don Siegel) of the 1956 version have cameo roles that are both fun and scary. Put it all together and you have in my opinion both the best movie in Kaufman’s impressive ouevre and one of Hollywood’s freshest remakes ever.
p.s. Look fast in the opening scenes for a creepy looking priest on a swing played by Robert Duvall! As Kaufman tells it, he thought every horror movie should have priest in it so he asked his friend Duvall to do the wordless cameo.
All Good Movies 