Body Snatchers (1993) an overlooked sci-fi gem.

This year marks the 31st anniversary of the cult classic “Body Snatchers”. Directed by Abel Ferrara and starring Gabrielle Anwar, Forrest Whitaker, R. Lee Ermey and Meg Tilly, this re-imagining of the classic from the 50’s failed to perform strongly in the box office and received lukewarm reviews at the time. But hindsight is 20/20, so what can be said of this entry in the “Invasion” franchise after three decades and so many other attempts at cracking the “bodysnatchers sub-genre”?

First some backstory:

Back in 1955, a sci-fi and thrillers author by the name of Jack Finney published what would become his most famous novel and biggest contribution to science fiction: “The Body Snatchers”. The book, a great tale of paranoia and mass hysteria, became instantly popular. So much so than a year later the first film adaptation hit cinemas. “Invasion of the Body Snatchers” starred Kevin McCarthy and Dana Wynter and had Don Siegel at the helm. This film stroke at a time of increasing distrust amongst the American people, concerned with treats both foreign (The communist regime) and domestic (McCarthyism and the “witch hunt”) and served as a metaphor for those fears.

This film also set what would become staples for these movies: The Pod People, the hive-mind nature of the invaders, the risk of falling asleep (That’s when they get you) the protagonist realizing the invasion has been in motion for a long time (“They’re here! And you’re next!) and the resulting sense of dread and impotence facing certain doom. “Invasion of the Body Snatchers” belongs alongside “The day the Earth Stood Still” and “Forbidden Planet” as a bona fide science fiction classic from the 50’s that helped stablish the genre as much more than just b-movies and cheap thrills.

In 1978 came what many considered to be the definitive adaptation in this series. The homonym film directed by Philip Kaufman and starring Donald Sutherland, Veronica Cartwright and Leonard Nimoy. A movie with an oppressive atmosphere, contrasted by the open spaces of its setting: San Francisco. Moving away from the small all-american town from the previous film, and also from the idiosyncrasies of the 1950’s. These movie uses the allegory of the Body Snatchers to tackle the uncertainty towards new-age therapies, psychics and all around quacks (that were abundant during the 70’s). With amazing special effects and great performances as well as an iconic ending the 1978 adaptation is still remembered as the high mark of the franchise and a constantly cited example of a remake done right.

As the 90’s rolled around…

Body Snatchers follows Marti (Anwar) a teenager that moves with her family to an army base where little by little she uncovers a plot to take over the world by alien invaders that take control- or replace? — the body of their hosts. Director Abel Ferrara was given the task to modernized the story of the pod people. Ferrara (an unorthodox choice for the role of director) accomplishes wonders with the setting. Using at his advantage the emptiness of the houses and offices in the base. Playing with hard shadows and lightning that evokes the German expressionism. He also endows the rooms with an eerie feel, turning them into a liminal space that works as a perfect environment for the nefarious actions of the titular snatchers. It truly is a lesson in innovating filmmaking and resourcefulness.

This 3rd entry delivers its message in a much less covert way that its contra part form the 70’s. The jest in this case is the fear of losing autonomy, losing whatever individual quality that makes the protagonist themselves. It proves that throughout the decades the constant dread that’s associated with the idea of losing one’s identity is something that remains in the minds of the audiences. As the trailer so succinctly puts it “Everything will be perfect… the only thing missing will be you”

Besides its stylish presentation and powerful message, the movie also has some top tier performances. Academy-award-nominee Meg Tilly delivers a bone chilling monologue, taking the well-known characteristics of the body snatchers (monotone cadence and soullessness behind their eyes) and turning them into a gravitas-filled speech as she walks to her distressed partner in a spectral fashion and attempts a no-resistance assimilation. This happens right before “The-Scream-and-Point Scene” a perfect homage and -some would say- improvement of the 78’ version.

In here the audience is presented with a version of the invaders with a clear plan: To conquer the world infiltrating the defense system of the most powerful country in the planet and spread from there. It is odd that the previous entries had never dabble in this idea of the army as a perfect vessel for the alien force. In this case the special effects are not central-stage, this is a much more subdue film and a character-driven story with a splash of action that failed to captivate audiences at the time, which could be attributed to strong competition that summer (the Sylvester Stallone vehicle Cliffhanger.) And less than a month later “Jurassic Park” would smash theaters all around the world. Throughout the years, however, this film has experienced a sort of re-appreciation and has gained a cult following that adore the film and consider it to be one of- if not- the best sci-fi has to offer.

What the future once held

In the 30-plus years since “Body Snatchers” premiered the subgenre as since many entries of variable quality. From the highs of Robert Rodriguez’ “The Faculty” or Edgar Wright’s “The World’s End” to a clunky -yet interesting- fourth film in the official “bodysnatchers” franchise, simply titled “Invasion” with Nicole Kidman and Daniel Craig, that garnered even less praises than Ferrara’s film. The truth is that the body snatchers had not been exploited, unlike their horror equivalent: the zombies. But they had, instead, enjoyed a well- earned place in pop culture for almost 70 years. Proving time and time again that the horror of seeing loved ones turn into shells of themselves, devoted of any kind of feeling, of anything that resembles a human being except for the uncanny facade of a person, is something that will continue to make the skin of each new generation crawl.