I have decided to take a break from K-dramas and the Green
Bay Packers to revisit one of my favorite movies – George Pal’s 1953 adaptation
of The War of the Worlds. This was a movie that made a huge impression
on my seven-year self. As a kid, one of my jobs was to record programs for my
dad on the VCR – he spent most of my childhood working third shift and always
slept during day - which meantt, because of his sleep
schedule, he would end up missing a lot of programs. When we bought our first
VCR, it turned out to be a godsend for my dad– he would have me record the
program and then watch it later. One of
these programs was The War of the Worlds. My seven-year-old self was initially
skeptical, “Did my dad expect me to sit through this boring old movie?” My sister echoed my sentiments. I popped in the
blank VHS tape (that my dad bought specifically for this purpose), pressed the
record button on the VCR, and sat on the couch, fearing the absolute worst. Now, you might ask, “Why couldn’t you just
press record and walk away?” Well, my dad hated commercials, so we always cut
them out of our recording. Our VCR had a slight defect, the remote control
didn’t work, which meant that whenever a commercial break came up, I had to
walk to the VCR and press the pause button (and then would have to hit the
pause button again to continue recording).
Any ways, the movie started and within seconds I was hooked. It begins with the voice of God (Cedric
Hardwicke) narrating the plight of the Martians, as they decide on which planet
to invade, and we are shown different alien landscapes. It is a visually
striking montage and an effective way to open the movie.
One of the details that will be lost on modern audiences,
but would have been mind-blowing to 1953 movie goers, is the use of the
color. In the 1950s, most studios viewed
science fiction as B-movie fodder – they were made with a small budget and shot
in black and white. The studios were
more interested in making a quick buck – they didn’t care about the overall
quality of the film. The fact that many science fiction movies from this decade
have become classics is due to the talent behind and front of the camera; the
studios would have released them whether they were good or not. However, The
War of the Worlds was different – Paramount studios didn’t think of it as
merely a B movie and went all out to make the best film imaginable, including
filming it in Three Strip Technicolor (this was reserved solely for their A pictures). However,
since the studio would be pouring a lot of money into the more technical
aspects of the movie, they had to settle for lesser-known actors in the lead
roles. Gene Barry (as Dr. Clayton Forrester) would go on to find great success
on television, but in 1953 but he was a relative unknown. As for leading actress, Ann Robinson, The
War of the World was the high point of her career – her filmography
consists mostly of guest roles in various television shows (both Barry and her
also have cameos in Steven Spielberg’s 2005 adaptation).
I rather like Gene Barry’s performance as Dr. Clayton
Forrester – he is not the humorless stiff that often populated 1950s science
fiction movies. When the Martian
invasion first begins, he is both terrified and excited about it – when he
first sets eyes on the Martian Warships, he is unable to contain his excitement
and exclaims, “THIS IS AMAZING!!!” This scientific half of his brain takes over
and he cannot help but marvel at how more technologically advanced the Martians
are. Dr. Forrester has been alone his entire
life – his parents died when he was a kid and there is no mention of siblings.
He is a self-made man – he was able to get ahead in life due to his
intellectual superiority and curiosity. When the farmhouse Sylvia and he have
taken shelter in is surrounded by the Martian Warships, his curious nature
takes over and he must get a good look at them. However, as the Martian threat
becomes more serious, and all the military/scientific attempts to stop them
prove to be futile, he can only take shelter in a church and pray for the best. It is a humbling experience for Dr. Forrester
– he begins the movie convinced of his intellectual superiority but by the
movie’s end can only join the masses in praying for divine intervention.
Ann Robinson is adequate as Forrester’s love interest,
Sylvia Van Buren. I remember watching this movie in the 8th grade
(we read the novel and brought in my VHS copy of the film at the behest of our
English teacher) and many of my classmates got annoyed at her hysterics. Oddly enough there are only two brief scenes
where Sylvia loses it, otherwise she is calm and collected – she even looks
after an unconscious Forrester after a cylinder crash lands into the farmhouse.
Not to mention, Sylvia has every right to be hysterical – not only is the Earth
being invaded by Martians, but she also witnessed her beloved uncle, Pastor Collins,
get vaporized by a Martian Warship. Most people would be a bit unhinged after
witnessing that. It is pays to remember
that this movie was released in 1953, which means that good number of men would
have served in World War Two, and therefore would have experienced war firsthand.
Sylvia, on the other hand, would have been a teenage girl during WWII, living a
sheltered life in a small town, and wouldn’t be as equipped to handle this
situation. Sylvia comes from a big family and this is really the first time
she has been alone.
In H.G. Wells’ novel, the narrator gets separated from his
wife and he spends most of the narrative trying to find her. It is episodic in nature
- with our beleaguered narrator encountering various people and dangers on the
way. In the movie, Dr. Forrester and Sylvia first meet at the crash site and have
a pleasant exchange. In a span of a few days,
the two of them have gone through a lot, and it is perfectly believable that
Dr. Forrester would risk his life at the end of the movie to find her. In fact, Dr. Forrester has embraced his fate –
he is convinced that this is the end times and wants to spend his final moments
with the woman he loves. The romance in The War of the Worlds is hinted
at – there is no declaration of love from Dr. Forrester or a long kissing scene
– we immediately know their feelings just by the way they look at each
other.
The movie follows the basic outline of the H.G. Wells novel;
in many ways, it is more indebted to Orson Welles 1938 radio adaptation than Wells’
novel. The novel was written in 1898 and set in the Victorian Era, which means
that, in the novel, the world militaries were handcuffed by the artillery at
time (their cannons and armed forces are no match for the Martian invasion).
The movie raises the stakes of the novel – the walking tripods in the H.G.
Wells novel are technical marvels, but they are vulnerable – the military manages to down a tripod. In the
1953 adaptation, the flying warships are indestructible – even the H-bomb
proves to be useless against them (the warships protect themselves with a force
field). The most unnerving aspect of the
1953 version is that the Earth’s best efforts are just not good enough against
the Martians. Dr. Forrester rightly
guesses that the only way to beat the Martians is by waging biological warfare
against them, but their hopes are dashed after a violent mob hijacks
Forrester’s truck that contains all the materials necessary to combat the
Martians.
There is fun reference to the Orson Welles’ 1938 radio adaptation
– there is a scene where a reporter is interviewing scientists at the crash
site and then we are shown a montage of random people listening to his broadcast on
the radio. The movie went into
production in 1952 and while television was beginning to catch on with the
masses, there was still a good chunk of the population that still listened to,
and got their news from, the radio. I also think that, in 1952, the studios
might have been hesitant to show television sets in their movies, out of fear
that it might encourage moviegoers to go out and buy one. “Why am I sitting in
this stuffy movie theater when I can be at home watching I Love Lucy?”
A recurring theme of many science fiction movies of the
1950s was science vs. the military. The good intentioned scientists often
wanted to contact the extra-terrestrials, believing that such contact might be
beneficial to mankind, while the military usually wanted to destroy the damn
things. In The Thing from Another
World, Dr. Carrington wants to make contact the Thing, while ignoring its every
growing body count, and Captain Hendry wants to destroy it. Captain Hendry is
the movie's hero, and his intuitions prove to be correct. In The
Day the Earth Stood Still, Klaatu wants to deliver an important message to
the world, but it is the military that stands in his way. His main allies are
prominent scientists, who eagerly want to hear what he has to say. This conflict doesn’t exist in The War of
the Worlds, instead the scientists are working with the military to stop the
Martian invasion. Dr. Forrester is even good friends with Major General Mann –
the implication is that the two served together in World War II.
The two attempts to contact the Martians don’t come from the
scientific community, but by a few misguided civilians. The first attempt is by three rubes who have
been assigned to watch the cylinder (at this point the town believes it is a
meteor) and when a hatch on the cylinder unscrews and a cobra-shaped periscope
emerges, the three men unanimously decide to offer it their hand in friendship.
When asked what they should say to the Martians, one of them quips, “Welcome to
California.” They walk towards the
periscope brandishing a white flag and shout, “WE’RE FRIENDS!” Unfortunately, the Martians reject their
generous gift of friendship, and they are blasted into oblivion by the Martian's Death Ray. A similar scene happens in the novel, but it
doesn’t have the same impact – in the novel, everything is told in matter-of-fact
manner (it’s told from a first-person perspective) and when the three men get
vaporized, you don’t feel anything because they were so ill defined. In the
novel, the narrator witnesses this violent act from a far, while in the movie
we are in the middle of the horror. When the three rubes get blasted, the camera
is stationed directly behind them. You learn just enough about these three men
that when they meet their end it has an actual impact. They are well-meaning morons who come to
undeserved ends. They are also a progressive bunch (for 1953) – one of them is
a Mexican who is a BFF to the two white dudes.
It’s really an inspirational moment – until they get turned to dust by
those diabolical Martians.
The second attempt comes from Sylvia’s uncle, Pastor
Collins, who walks towards the War Machines quoting Psalm 23:4 while hold out
his bible. He is hoping to reach these invaders from the red planet but is also
willing to give up his life. He ends up dying a martyr. A more modern take
would be to turn Pastor Collins into an unhinged religious fanatic who believes
the Martian invasion is God’s judgement on mankind. He would be doing
everything he could to aid the Martians, like sabotaging all scientific and
military attempts at ending the invasion. I like the fact that Pastor Collins
is a genuinely decent man whose good intentions cost him his life. He also
immediately takes a liking to Dr. Forrester, even though they inhabit two
different worlds – again, a modern movie would strawman him into being
anti-science and labelling Dr. Forrester as a “servant of Satan.”
The movie does an excellent job of building suspense – the first fifteen minutes (after the brief prologue) are lighthearted in tone– after the “meteor” crashes the meadow, the towns people talk about turning it into a tourist attraction – one of them suggests they should put up concession stands around it. When Pastor Collins suggests they put up picnic tables, one of the ill-fated rubes interjects, “No! Then they will bring their own food.” However, their dream of monetizing the meteor is dashed they learn it is radioactive. Still, none of this really phases the townspeople and they go about their daily business – they even have a square dance (which is an accurate description, because these are some of the biggest squares you will ever see dancing). Dr. Forrester, however, enjoys himself and even cracks a few dad jokes. It becomes deadly serious when the hatch on the cylinder unscrews, and the Death Ray emerges to lay waste to area. It isn’t until about twenty-five minutes in that we are given a good look at the Martian Warships. In the novel, the Martian Warships were tripods that stomped across the countryside, in the movie, they are swan-shaped vehicles that eerily glide over the landscape, casually destroying anyone/anything that is in their path. There are a few prints out there where the wires suspending the Warships are noticeable – Joe Dante, in the commentary track, explains that the film was originally shot in Three Strip Technicolor, which gave the film a softer look and, as a result, the wires were invisible. In the lates 1960s, the film was reprinted in Eastman Color and the quality of the effects suffered as a result. The print that is currently available on Amazon Prime is of higher quality and the wires are only noticeable in a couple of shots.
In the novel the Martians look like octopuses and the Earth’s gravity affects their movements – they are reduced to a crawl. The movie opts for a more unusual design – the Martians are shaped like a T, have a wormy texture, and their eye is in the middle of the shoulder area. Their eye also has three lenses (red, blue, and green) and stereoscopic vision. They also have long arms and suctions on their fingertips. The movie, wisely, only gives us a brief glimpse at the Martians – we see one of them briefly in the farmhouse after it grabs Sylvia by the shoulder (one of the most iconic moments in 1950s science fiction). A lady scientist aptly describes the Martians, they are mental giants, but physically still very primitive – they look like something that has just crawled out of the primordial ooze. It is interesting to note that Ray Harryhausen did test footage for his own adaptation of The War of the Worlds, and his Martian design was faithful to the novel. The movie was scrapped but the test footage is readily available. Three years later, Harryhausen got to make his own alien invasion movie with Earth vs. the Flying Saucers.
One of the lost arts of movie making is the lighting – in The War of the Worlds, the filmmakers use a colorful palette to paint their canvas. The most efficient effect shot in the entire movie is a Martian’s death scene - after the Warship crashes into a building, the hatch on the bottom opens and we see a Martian’s arm reaching out for one last gasp. The use of lighting in this moment is extraordinary – the Martian’s arm is initially bathed in red light and then the light turns green, signifying the Martian’s death. It’s a simple, and economical, shot but it is very effective. It is also quite a poignant moment – the Martian has mastered technology far beyond our understanding, and has traveled over 140 million miles, only to be killed by Earth’s bacteria. This is a huge oversight on their part – you would think that an advanced species would have included potential germs/viruses in their calculations and worn hazmat suits while walking on the surface. It’s like how in Independence Day the aliens are technologically advanced but never created anti-virus software.
The movie implies that it is not the bacteria that killed the
Martians but, rather, divine intervention. It is no coincidence that Martian Warship
crashes seconds after destroying a stained-glass church window. The movie even
ends on an “AMEN!” Modern audiences might roll their eyes at this moment, but
in 1953 the country was overwhelming Christian, so the spiritual aspect is not
too surprising. Not to mention that Cecil B. DeMille was an uncredited producer
on the film and his movies were often long-winded sermons. It never really bugged
me because, to be honest, the divine intervention ending is no worse than “killed
by bacteria.” They both are cop outs.
It should be noted that, in 1988, there was a War of the Worlds
television series that was a follow up to the 1953 movie. The TV series
owes more to Invasion of the Body
Snatchers than H.G. Wells; the
aliens take over the bodies of human beings to further their agenda unnoticed. The aliens were no longer from Mars but Mor-Tax.
They also were given a catchphrase – whenever they greeted each other they would
utter, “To life immortal.” The show was gory
for the time – there is one episode where an alien rips off a hockey player’s
arm and then skates around the ice ring clutching the man’s arm. It was also a
very bleak show – half of the cast’s members were killed off by the end of
season one. I was such a huge fan of the
movie that when I learned they were making a spin-off TV series, I was elated.
“THIS IS GOING TO BE AWESOME,” I shouted seconds before the premiere. Then I
watched the actual show and was disappointed. The design of the aliens was slightly
modified – they now had one, demonic looking, red eye and there were no longer
suctions on their fingertips. The Martian Warships only make an appearance at
the end of the pilot episode – the main characters commodore one that is in
storage and use it repel the invaders. I
haven’t seen it in over thirty years, so it could be one of the shows that
improves with age. It could be, but I doubt it.
Cast: Gene Barry (Dr. Clayton Forrester), Ann Robinson (Sylvia Van Buren), Les Tremayne (Maj. Gen. Mann), Robert Cornthwaite (Dr. Pryor), Sandro Giglio (Dr. Bilderback), Lewis Martin (Pastor Dr. Matthew Collins), William Phipps (Wash Perry), Houseley Stevenson, Jr. (Gen. Mann’s Aide), Vernon Rich (Col. Ralph Heffner), Jack Kruschen (Salvatore), Paul Birch (Alonzo Hogue), Vernon Rich (Col. Ralph Heffner), Paul Frees (Second Radio Operator/Opening Announcer), Henry Brandon (Cop at Crash Site), Cedric Hardwicke (commentary - voice).
Director: Byron Haskin
Writers: Barre’ Lyndon. Based off the novel by H.G. Wells
Running Time: 85 minutes.
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