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Invasion of the Body Snatchers
Invasion of the Body Snatchers
is a 1956 American science fiction horror film produced by Walter Wanger, directed by Don Siegel, that stars Kevin McCarthy and Dana Wynter. The black and white film, shot in Superscope, was partially done in a 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 on a double bill with the British science fiction film The Atomic Man. 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 reproducing a duplicate replacement copy of each human. As each pod reaches full development, it assimilates the physical characteristics, memories, and personalities of each sleeping person placed near it; 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 American culture references the emotionless duplicates seen in the film.[2] Invasion of the Body Snatchers
Invasion of the Body Snatchers
was selected in 1994 for preservation in the United States National Film Registry
National Film Registry
by the Library of Congress for being "culturally, historically, or aesthetically significant."

Contents

1 Plot 2 Cast 3 Production

3.1 Novel and screenplay 3.2 Budgeting and casting 3.3 Principal photography 3.4 Post-production 3.5 Original intended ending 3.6 Theatrical release

4 Themes 5 Reaction

5.1 Critical reception 5.2 Legacy

6 DVD
DVD
releases 7 Remakes 8 Related works 9 Further reading 10 See also 11 References

11.1 Notes 11.2 Bibliography

12 External links

Plot[edit] Psychiatrist
Psychiatrist
Dr. Hill is called to the emergency room of a California hospital, where a screaming man is being held in custody. Dr. Hill agrees to listen to his story. The man identifies himself as a doctor, and he recounts, in flashback, the events leading up to his arrest and arrival at the hospital: In the nearby town of Santa Mira, Dr. Miles Bennell sees a number of patients apparently suffering from Capgras delusion – the belief that their relatives have somehow been replaced with identical-looking impostors. Returning from a trip, Miles meets his former girlfriend, Becky Driscoll, who has herself recently come back to town after a divorce. Becky's cousin Wilma has the same fear about her Uncle Ira, with whom she lives. Psychiatrist
Psychiatrist
Dr. Dan Kauffman assures Bennell that these cases are merely an "epidemic of mass hysteria". That same evening, Bennell's friend, Jack Belicec, finds a body with his exact physical features, though it appears not fully developed; later, another body is found in Becky's basement that is her exact duplicate. When Bennell calls Kauffman to the scene, the bodies have mysteriously disappeared, and Kauffman informs Bennell that he is falling for the same hysteria. The following night, Bennell, Becky, Jack, and Jack's wife Teddy again find duplicates of themselves, emerging from giant seed pods in Dr. Bennell's greenhouse. They conclude that the townspeople are being replaced while asleep with exact physical copies. Miles tries to make a long distance call to federal authorities for help, but the phone operator claims that all long-distance lines are busy; Jack and Teddy drive off to seek help in the next town. Bennell and Becky discover that by now all of the town's inhabitants have been replaced and are devoid of humanity; they flee to Bennell's office to hide for the night. The next morning they see truckloads of the giant pods heading to neighboring towns to be planted and used to replace their populations. Kauffman and Jack, both of whom are "pod people" by now, arrive at Bennell's office and reveal that an extraterrestrial life form is responsible for the invasion. After their takeover, they explain, life loses its frustrating complexity, because all emotions and sense of individuality vanish. Bennell and Becky manage to escape, but are soon pursued by a crowd of "pod people". Exhausted, they manage to hide in an abandoned mine outside town. Bennell leaves a little later, coming upon a large greenhouse farm, where he discovers giant seed pods being grown by the hundreds. When Bennell kisses Becky after his return, he realizes, to his horror, that Becky fell asleep and is now one of them. As Bennell runs away, she sounds the alarm. He runs and runs, eventually finding himself on a crowded state highway. After seeing a transport truck bound for San Francisco
San Francisco
and Los Angeles
Los Angeles
filled with the pods, he frantically screams at the passing motorists, "They're here already! You're next! You're next!" Dr. Hill and the on-duty doctor dismiss Bennell's account until a truck driver is wheeled into the emergency room after being badly injured in an accident. He was found in his wrecked truck buried under a load of giant seed pods. Finally believing Bennell's story, Dr. Hill calls for all roads in and out of Santa Mira to be barricaded, and alerts the FBI. Cast[edit]

Kevin McCarthy as Dr. Miles Bennell Dana Wynter
Dana Wynter
as Becky Driscoll Larry Gates
Larry Gates
as Dr. Dan Kauffman King Donovan as Jack Belicec Carolyn Jones
Carolyn Jones
as Theodora "Teddy" Belicec Jean Willes
Jean Willes
as Nurse Sally Withers Ralph Dumke as Police Chief Nick Grivett Virginia Christine
Virginia Christine
as Wilma Lentz Tom Fadden
Tom Fadden
as Uncle Ira Lentz Kenneth Patterson as Stanley Driscoll Guy Way as Officer Sam Janzek Eileen Stevens as Anne Grimaldi Everett Glass as Dr. Ed Pursey Dabbs Greer as Mac Lomax Sam Peckinpah
Sam Peckinpah
as Charlie Whit Bissell
Whit Bissell
(uncredited) as Dr. Hill Richard Deacon (uncredited) as Dr. Bassett Robert Osterloh
Robert Osterloh
(uncredited) as Ambulance Driver

Production[edit] Novel and screenplay[edit] Jack Finney's novel ends with the extraterrestrials finally leaving Earth after they find that humans are offering strong resistance, despite having little reasonable chance against the alien invasion; the "pod people" have a life span of no more than five years, so five years after taking over the last human being, the invaders would then have to seek out a new world with new life forms as hosts, leaving behind a depopulated Earth.[2] Budgeting and casting[edit]

In this screenshot from the trailer; the principal cast—(clockwise from top right) Carolyn Jones
Carolyn Jones
as Teddy, Kevin McCarthy as Dr. Miles Bennell, King Donovan as Jack Belicec, and Dana Wynter
Dana Wynter
as Becky Driscoll—discover the pods growing.

Invasion of the Body Snatchers
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.[3] 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
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.[3] Kiley turned the role down and Wanger cast two relative newcomers in the lead roles: Kevin McCarthy, who had just starred in Siegel's An Annapolis Story, and Dana Wynter, who had done several major dramatic roles on television.[4] Future director Sam Peckinpah
Sam Peckinpah
had a small part as Charlie, a meter reader. Peckinpah was a dialogue coach on five Siegel films in the mid-1950s, including this one.[5] Principal photography[edit] 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.[3] 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
Los Angeles
area, including Sierra Madre, Chatsworth, Glendale, Los Feliz, Bronson and Beachwood Canyons, all of which would make up the town of "Santa Mira" for the film.[3] 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
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.[3] The production went over schedule by three days because of 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] Post-production[edit] The project was originally named The Body Snatchers
The Body Snatchers
after the Finney serial.[6] However, 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 were chosen, and the studio settled on Invasion of the Body Snatchers in late 1955.[6] The film was released at the time in France under the mistranslated title "L'invasion des profanateurs de sépultures" (literally: Invasion of the defilers of tombs), which remains unchanged today.[citation needed] Wanger wanted to add a variety of speeches and prefaces.[7] He suggested a voice-over introduction for Miles.[8] 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
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
Ray Bradbury
instead, but this did not happen, either.[8] Mainwaring eventually wrote the voice-over narration himself.[6] The studio scheduled three film previews on the last days of June and the first day of July 1955.[8] According to Wanger's memos 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.[8] He scheduled another preview in mid-August that also did not go well. In later interviews Siegel pointed out that it was studio policy not to mix humor with horror.[8] Wanger saw the final cut in December 1955 and protested the use of the Superscope aspect ratio.[6] 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
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 non-anamorphic source material that would be projected at an aspect ratio of 2.00:1.[6][9] Original intended ending [edit] Both Siegel and Mainwaring were satisfied with the film as shot. It was originally meant to end with Miles screaming as truckloads of pods pass him by.[7] The studio, wary of a pessimistic conclusion, insisted on adding a prologue and epilogue suggesting a more optimistic outcome to the story, which is thus told mainly in flashback. In this version the film begins with a ranting Bennell in custody in a hospital emergency ward. He then tells a consulting psychiatrist (Whit Bissell) his story. In the closing scene pods are found at a highway accident, confirming his warning. The Federal Bureau of Investigation
Federal Bureau of Investigation
is notified.[2] Mainwaring scripted this framing story and Siegel shot it on September 16, 1955, at the Allied Artists studio.[6] In a later interview Siegel complained, "The film was nearly ruined by those in charge at Allied Artists who added a preface and ending that I don't like".[10] In his autobiography Siegel added that "Wanger was very much against this, as was I. However, he begged me to shoot it to protect the film, and I reluctantly consented […]".[11] While the Internet Movie Database
Internet Movie Database
states that the film had been revised to its original ending for a re-release in 1979,[12] Steve Biodrowski of Cinefantastique
Cinefantastique
magazine notes that the film was still being shown with the complete footage, including a 2005 screening at the Academy of Motion Picture Arts and Sciences, honoring director Don Siegel.[13] Though disapproved of by most reviewers, George Turner (in American Cinematographer)[14] and Danny Peary (in Cult Movies)[15] endorsed the subsequently added frame story. Nonetheless, Peary emphasized that the added scenes changed significantly what he saw as the film's original intention.[citation needed] Theatrical release[edit] When the film was released domestically in February 1956, many theaters displayed several pods made of papier-mâché in theater lobbies and entrances, along with large lifelike black and white cutouts of McCarthy and Wynter running away from a crowd. The film made more than $1 million in the first month, and in 1956 alone made more than $2.5 million in the U.S.[2] When the British release (with cuts imposed by the British censors[16]) took place in late 1956, the film earned more than a half million dollars in ticket sales.[6] Themes [edit] Some reviewers saw in the story a commentary on the dangers facing America for turning a blind eye to McCarthyism, " Leonard Maltin
Leonard Maltin
speaks of a McCarthy-era subtext."[17] or of bland conformity in postwar Eisenhower-era America. Others viewed it as an allegory for the loss of personal autonomy in the Soviet Union
Soviet Union
or communist systems in general.[18] For the BBC, David Wood summarized the circulating popular interpretations of the film as follows: "The sense of post-war, anti-communist paranoia is acute, as is the temptation to view the film as a metaphor for the tyranny of the McCarthy era."[19] Danny Peary in Cult Movies pointed out that the addition of the framing story had changed the film's stance from anti-McCarthyite to anti-communist.[15] Michael Dodd of The Missing Slate has called the movie "one of the most multifaceted horror films ever made", arguing that by "simultaneously exploiting the contemporary fear of infiltration by undesirable elements as well as a burgeoning concern over homeland totalitarianism in the wake of Senator Joseph McCarthy's notorious communist witch hunt, it may be the clearest window into the American psyche that horror cinema has ever provided".[20] In An Illustrated History of the Horror Film, Carlos Clarens saw a trend manifesting itself in science fiction films, dealing with dehumanization and fear of the loss of individual identity, being historically connected to the end of "the Korean War
Korean War
and the well publicized reports of brainwashing techniques".[21] Comparing Invasion of the Body Snatchers with Robert Aldrich's Kiss Me Deadly
Kiss Me Deadly
and Orson Welles' Touch of Evil, Brian Neve found a sense of disillusionment rather than straightforward messages, with all three films being "less radical in any positive sense than reflective of the decline of [the screenwriters'] great liberal hopes".[22] Despite a general agreement among film critics regarding these political connotations of the film, actor Kevin McCarthy said in an interview included on the 1998 DVD
DVD
release that he felt no political allegory was intended. The interviewer stated that he had spoken with the author of the novel, Jack Finney, who professed no specific political allegory in the work. DVD
DVD
commentary track, quoted in Feo Amante's homepage.[23] In his autobiography, I Thought We Were Making Movies, Not History, Walter Mirisch writes: "People began to read meanings into pictures that were never intended. The Invasion of the Body Snatchers
Invasion of the Body Snatchers
is an example of that. I remember reading a magazine article arguing that the picture was intended as an allegory about the communist infiltration of America. From personal knowledge, neither Walter Wanger nor Don Siegel, who directed it, nor Dan Mainwaring, who wrote the script nor original author Jack Finney, nor myself saw it as anything other than a thriller, pure and simple."[24] Don Siegel spoke more openly of an existing allegorical subtext, but denied a strictly political point of view: "[…] I felt that this was a very important story. I think that the world is populated by pods and I wanted to show them. I think so many people have no feeling about cultural things, no feeling of pain, of sorrow. […] The political reference to Senator McCarthy and totalitarianism was inescapable but I tried not to emphasize it because I feel that motion pictures are primarily to entertain and I did not want to preach."[25] Film scholar J.P. Telotte wrote that Siegel intended for pods to be seductive; their spokesperson, a psychiatrist, was chosen to provide an authoritative voice that would appeal to the desire to "abdicate from human responsibility in an increasingly complex and confusing modern world."[26] Reaction [edit] Critical reception[edit]

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Though Invasion of the Body Snatchers
Invasion of the Body Snatchers
was largely ignored by critics on its initial run,[14] Filmsite.org ranked it as one of the best films of 1956.[27] The film holds a 98% approval rating and 9/10 rating at the film review aggregator website Rotten Tomatoes. The site's consensus reads: "One of the best political allegories of the 1950s, Invasion of the Body Snatchers
Invasion of the Body Snatchers
is an efficient, chilling blend of sci-fi and horror."[28] In recent years critics such as Dan Druker of the Chicago Reader have called the film a "genuine Sci-Fi classic".[29] Leonard Maltin described Invasion of the Body Snatchers
Invasion of the Body Snatchers
as "influential, and still very scary".[17] Time Out called the film one of the "most resonant" and "one of the simplest" of the genre.[30] Legacy[edit] Invasion of the Body Snatchers
Invasion of the Body Snatchers
was selected in 1994 for preservation in the United States National Film Registry
National Film Registry
by the Library of Congress as being "culturally, historically, or aesthetically significant".[31] In June 2008, the American Film Institute
American Film Institute
revealed its "Ten top Ten" — the best ten films in ten "classic" American film genres — after polling more than 1,500 people from the creative community. Invasion of the Body Snatchers
Invasion of the Body Snatchers
was acknowledged as the ninth best film in the science fiction genre.[32] The film was also placed on AFI's AFI's 100 Years ... 100 Thrills, a list of America's most heart-pounding films.[33] The film was included on Bravo's 100 Scariest Movie Moments.[34] Similarly, the Chicago Film Critics Association named it the 29th scariest film ever made.[35] Time magazine included Invasion of the Body Snatchers
Invasion of the Body Snatchers
on their list of 100 all-time best films,[36] the top 10 1950s Sci-Fi Movies,[37] and Top 25 Horror Films.[38] DVD
DVD
releases[edit] The film was released on DVD
DVD
in 1998 by U.S.-label Republic (an identical re-release by Artisan followed in 2002); it includes the Superscope version plus a 1.375:1 Academy ratio
Academy ratio
version. The latter is not the original full frame edition, but a pan and scan reworking of the Superscope edition that loses visual detail.[citation needed] DVD
DVD
editions exist on the British market (including a computer colorized version), German market (as Die Dämonischen) and Spanish market (as La Invasión de los Ladrones de Cuerpos).[citation needed] Olive Films released a Blu-ray Disc
Blu-ray Disc
Superscope version of the film in 2012.[citation needed] Remakes[edit]

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Invasion of the Body Snatchers
Invasion of the Body Snatchers
(1978), was the first remake, was directed by Philip Kaufman
Philip Kaufman
and starred Donald Sutherland. Body Snatchers (1993), the second remake was directed by Abel Ferrara and starred Gabrielle Anwar. The Invasion (2007), was the third remake, was directed by Oliver Hirschbiegel, and starred Nicole Kidman
Nicole Kidman
and Daniel Craig
Daniel Craig
in the lead roles. A fourth remake of the film is currently in development by Warner Bros., with David Leslie Johnson signed on as screenwriter.[39]

Related works[edit] Template:Rewrites section There are several thematically related works that followed the novel and its film adaptations, including Val Guest's Quatermass 2
Quatermass 2
and Gene Fowler's I Married a Monster from Outer Space. Robert A. Heinlein
Robert A. Heinlein
had treated this subject in a novel, The Puppet Masters, written in 1950 and published a year later. This novel was plagiarized in the 1958 film The Brain Eaters
The Brain Eaters
and adapted in a 1994 film with the same title. A Looney Tunes
Looney Tunes
parody of the film was released titled, Invasion of the Bunny Snatchers (1992). The adaptation was directed by Greg Ford and places Bugs Bunny, Daffy Duck, Elmer Fudd, Yosemite Sam, and Porky Pig in the various roles of the story. The May 1981 issue of National Lampoon featured a parody titled "Invasion of the Money Snatchers"; the gentile population of Whiteville is taken over by pastrami sandwiches from outer space and turned into Jews.[40] Further reading[edit]

Grant, Barry Keith. 2010. Invasion of the body snatchers. New York: Palgrave Macmillan.

See also[edit]

List of American films of 1956

References[edit] Notes[edit]

^ Bernstein 2000, p. 446. ^ a b c d e f g Warren 1982[page needed] ^ a b c d e LaValley 1989, p. 25. ^ LaValley 1989, pp. 25-26. ^ Weddle 1994, pp. 116–119. ^ a b c d e f g LaValley 1989, p. 26. ^ a b LaValley 1989, p. 125. ^ a b c d e LaValley 1989, p. 126. ^ Hart, Martin. "Superscope." The American WideScreen Museum, 2004. Retrieved: January 13, 2015. ^ Lovell 1975[page needed] ^ Siegel 1993[page needed] ^ "Alternate versions: 'Invasion of the Body Snatchers'." IMDb. Retrieved: January 11, 2015. ^ Biodrowski, Steve. "Review: Invasion of the Body Snatchers." Cinefantastiqueonline.com. Retrieved: January 11, 2015. ^ a b Turner, George. "A Case of Insomnia." American Cinematographer (American Society of Cinematographers), Hollywood, March 1997. ^ a b Peary 1981[page needed] ^ "'Invasion of the Body Snatchers'." BBFC Web site. Retrieved: January 11, 2015. ^ a b Maltin's 2009, p. 685. ^ Carroll, Noel. "[…] it is the quintessential Fifties image of socialism", Soho News, December 21, 1978. ^ Wood, David. "'Invasion of the Body Snatchers'." BBC, May 1, 2001. Retrieved: January 11, 2015. ^ Dodd,Michael. "Safe Scares: How 9/11 caused the American Horror Remake Trend (Part One)." TheMissingSlate.com, August 31, 2014. Retrieved: January 11, 2015. ^ Clarens 1968[page needed] ^ Neve 1992[page needed] ^ Amante's, Feo. "Review: 'Invasion of the Body Snatchers.'" FeoAmante.com. Retrieved: January 11, 2015. ^ Mirisch 2008, pp. 39–40. ^ Interview with Don Siegel in Alan Lovell: Don Siegel. American Cinema, London 1975. ^ Telotte, J.P. "Human Artifice and the Science Fiction Film." Film Quarterly, Volume 36, Issue 3, Spring 1983, pg. 45. (via JSTOR subscription)(subscription required) ^ "The Greatest Films of 1956." AMC Filmsite.org. Retrieved: January 11, 2015. ^ "Movie Reviews, Pictures: 'Invasion of the Body Snatchers'." Rotten Tomatoes. Retrieved: February 9, 2016. ^ Druker, Dan. "'Invasion of the Body Snatchers'." Chicago Reader. Retrieved: January 11, 2015. ^ "'Invasion of the Body Snatchers'." Archived 2009-02-02 at the Wayback Machine. Time Out (magazine). Retrieved: January 11, 2015. ^ "Award Wins and Nominations: 'Invasion of the Body Snatchers'," IMDb. Retrieved: January 11, 2015. ^ "AFI's 10 Top 10." AFI.com. Retrieved: January 11, 2015. ^ "AFI's 100 Years... 100 Thrills." Archived 2011-07-16 at the Wayback Machine. AFI. Retrieved: January 11, 2015. ^ "Bravo's The 100 Scariest Movie Moments." Bravo.com. Retrieved: January 11, 2015. ^ "Chicago Critics’ Scariest Films." AltFilmGuide.com. Retrieved: January 11, 2015. ^ Schickel, Richard. "All-Time 100 Movies." Time, February 12, 2005. Retrieved: January 11, 2015. ^ Corliss, Richard. "1950s Sci-Fi Movies." Time, December 12, 2008; retrieved January 11, 2015. ^ "Top 25 Horror Films", Time, October 29, 2007; retrieved January 11, 2015. ^ https://variety.com/2017/film/news/invasion-of-the-body-snatchers-remake-warner-bros-1202500763/ ^ National Lampoon (May 1981) at the Grand Comics Database

Bibliography[edit]

Bernstein, Matthew. Walter Wanger: Hollywood
Hollywood
Independent. St. Paul, Minneapolis: University of Minnesota Press, 2000. ISBN 978-0-52008-127-7. Clarens, Carlos. An Illustrated History of the Horror Film. Oakville, Ontario, Canada: Capricorn Books, 1968. ISBN 978-0-39950-111-1. LaValley, Al. Invasion of the Body Snatchers. New Brunswick, New Jersey: Rutgers University Press, 1989. ISBN 978-0-81351-461-1. Lovell, Alan. Don Siegel. London: American Cinema, 1975. ISBN 978-0-85170-047-2. Maltin, Leonard. Leonard Maltin's Movie Guide 2009. New York: New American Library, 2009 (originally published as TV Movies, then Leonard Maltin’s Movie & Video Guide), First edition 1969, published annually since 1988. ISBN 978-0-451-22468-2. Mirisch, Walter. I Thought We Were Making Movies, Not History. Madison, Wisconsin: University of Wisconsin Press, 2008. ISBN 0-299-22640-9. Neve, Brian. Film and Politics in America: A Social Tradition. Oxon, UK: Routledge, 1992. ISBN 978-0-41502-620-8. Peary, Danny. Cult Movies: The Classics, the Sleepers, the Weird, and the Wonderful. New York: Dell Publishing, 1981. ISBN 978-0-385-28185-0. Siegel, Don. A Siegel Film. An Autobiography. London: Faber & Faber, 1993. ISBN 978-0-57117-831-5. Warren, Bill. Keep Watching the Skies: American Science Fiction Films of the Fifties, 21st Century Edition. Jefferson, North Carolina: McFarland & Company, 2009. ISBN 0-89950-032-3. Weddle, David. If They Move ... Kill 'Em! New York: Grove Press, 1994. ISBN 0-8021-3776-8.

External links[edit]

Wikiquote has quotations related to: Invasion of the Body Snatchers

Invasion of the Body Snatchers
Invasion of the Body Snatchers
(1956) on IMDb Invasion of the Body Snatchers
Invasion of the Body Snatchers
(1956) at AllMovie Invasion of the Body Snatchers
Invasion of the Body Snatchers
(1956) at Rotten Tomatoes "Invasion of the Body Snatchers: A Tale for Our Times," by John W. Whitehead, Gadfly Online, November 26, 2001; discusses the political themes of the original film McCarthyism
McCarthyism
and the Movies Comparison of novel to the first three film adaptations

v t e

The Body Snatchers
The Body Snatchers
by Jack Finney

Adaptations

Invasion of the Body Snatchers
Invasion of the Body Snatchers
(1956) Invasion of the Body Snatchers
Invasion of the Body Snatchers
(1978) Body Snatchers (1993) The Invasion (2007)

Related people

Don Siegel Kevin McCarthy Dana Wynter Abel Ferrara Philip Kaufman Oliver Hirschbiegel

Other

Invasion of the Bunny Snatchers
Invasion of the Bunny Snatchers
(1992) Pod People Invasion of the Pod People
Invasion of the Pod People
(2007)

v t e

Films directed by Don Siegel

Star in the Night (1945) Hitler Lives (1945) The Verdict (1946) Night Unto Night
Night Unto Night
(1949) The Big Steal
The Big Steal
(1949) The Duel at Silver Creek
The Duel at Silver Creek
(1952) No Time for Flowers (1952) Count the Hours
Count the Hours
(1953) China Venture
China Venture
(1953) Riot in Cell Block 11
Riot in Cell Block 11
(1954) Private Hell 36
Private Hell 36
(1954) The Blue and Gold
The Blue and Gold
(1955) Invasion of the Body Snatchers
Invasion of the Body Snatchers
(1956) Crime in the Streets (1956) Spanish Affair (1957) Baby Face Nelson (1957) The Lineup (1958) The Gun Runners
The Gun Runners
(1958) Edge of Eternity (1959) Hound-Dog Man
Hound-Dog Man
(1959) Flaming Star (1960) Hell Is for Heroes (1962) The Killers (1964) The Hanged Man (1964) Stranger on the Run
Stranger on the Run
(1967) Madigan
Madigan
(1968) Coogan's Bluff (1968) Death of a Gunfighter
Death of a Gunfighter
(1969) Two Mules for Sister Sara
Two Mules for Sister Sara
(1970) The Beguiled (1971) Dirty Harry
Dirty Harry
(1971) Charley Varrick
Charley Varrick
(1973) The Black Windmill (1974) The Shootist
The Shootist
(1976) Telefon (1977) Escape from Alcatraz (1979) Rough Cut (1980) Jinxed! (1982)

v t e

Films produced by Walter Wanger

The Sheik (1921) The Cocoanuts
The Cocoanuts
(1929) The Lady Lies (1929) Applause (1929) Roadhouse Nights (1930) Tarnished Lady
Tarnished Lady
(1931) Washington Merry-Go-Round (1932) Gabriel Over the White House (1933) The Bitter Tea of General Yen
The Bitter Tea of General Yen
(1933) Going Hollywood
Hollywood
(1933) Another Language (1933) Queen Christina (1933) The President Vanishes (1934) Private Worlds
Private Worlds
(1935) Smart Girl (1935) Every Night at Eight (1935) Shanghai (1935) Mary Burns, Fugitive
Mary Burns, Fugitive
(1935) The Moon's Our Home
The Moon's Our Home
(1936) Her Master's Voice (1936) The Case Against Mrs. Ames
The Case Against Mrs. Ames
(1936) Fatal Lady
Fatal Lady
(1936) Palm Springs (1936) The Trail of the Lonesome Pine (1936) Big Brown Eyes
Big Brown Eyes
(1936) Spendthrift (1936) You Only Live Once (1937) Vogues of 1938 (1937) History Is Made At Night (1937) Stand-In (1937) 52nd Street (1937) Trade Winds (1938) Blockade (1938) Algiers (1938) I Met My Love Again
I Met My Love Again
(1938) Stagecoach (1939) Winter Carnival (1939) Eternally Yours (1939) Foreign Correspondent (1940) The Long Voyage Home
The Long Voyage Home
(1940) Slightly Honorable (1940) The House Across the Bay
The House Across the Bay
(1940) Sundown (1941) Eagle Squadron (1942) Arabian Nights (1942) We've Never Been Licked
We've Never Been Licked
(1943) Gung Ho! (1943) Ladies Courageous
Ladies Courageous
(1944) Scarlet Street
Scarlet Street
(1945) Salome, Where She Danced
Salome, Where She Danced
(1945) Night in Paradise
Night in Paradise
(1946) Canyon Passage
Canyon Passage
(1946) Smash-Up, the Story of a Woman
Smash-Up, the Story of a Woman
(1947) The Lost Moment
The Lost Moment
(1947) Tap Roots
Tap Roots
(1948) Joan of Arc (1948) Secret Beyond the Door (1948) The Reckless Moment
The Reckless Moment
(1949) Reign of Terror (1949) Tulsa (1949) Aladdin and His Lamp (1952) Lady in the Iron Mask (1952) Battle Zone (1952) Fort Vengeance (1953) Kansas Pacific (1953) Riot in Cell Block 11
Riot in Cell Block 11
(1954) The Adventures of Hajji Baba (1954) Invasion of the Body Snatchers
Invasion of the Body Snatchers
(1956) Navy Wife
Navy Wife
(1956) I Want to Live!
I Want to Live!
(1958) Cleo

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