Body Snatchers works seamlessly and efficiently on multiple fronts, both as science fiction and social commentary. Don Siegel helms this film with his typical dynamic ease putting every minute of running time to good use. The screenwriter, Daniel Manwaring, put together perhaps one of the greatest political allegories ever penned and, on the whole, it’s a taut thriller combining sci-fi and horror to a tee.
It’s a wonderful bit of ethos that our main hero Miles Bennet (Kevin McCarthy) is a well-respected doctor, a genuine guy who over time gets transformed into a blubbering paranoid mess. It begs the question. What would evoke such a change in this man? Because it’s true. When he starts out he seems immeasurably chipper. Shrugging off a euphemistic “trip to Reno” and the subsequent alimony as if it were nothing. His practice is well-respected and his old beau, the beautifully elegant Becky Driscol (Dana Wynter) has returned to their idyllic town of Santa Mira, California.
The film’s amiable leads are able to suggest chemistry in only a matter of minutes. And though Wynter hardly seems indicative of a small town girl, it’s strangely of little consequence. While their relationship is integral to the narrative it’s only suggestive of the broader issue at hand — this epidemic of mass hysteria that slowly ingratiates itself on the small town.
It’s a systematic takeover — a silent killer– that runs city deep from the farmers to the police and everyone else in between. It comes slowly at first, only evident from a few seemingly incidental cases of psychological duress and odd coincidence. Dr. Bennet has sick patients leave messages with him frantically asking for help, only to reverse their pleas for help later. Then Wilma insists her Uncle Ira isn’t the same. There’s something different about him that she can’t quite put a finger on. The same goes for a young boy who repeatedly runs away from home insisting his mother isn’t his mother.
Once more Dr. Bennet finds the behavior odd but isn’t ready to come to a conclusion on it. But the epidemic continues and pretty soon Miles and Becky are horrified to find a faceless body at the residence of their close friends. It’s at this point where the full blown hysteria begins to deluge them as well.
They must fight to stay awake as they try and get to the bottom of this nefarious scheme. But that’s precisely it. These alien lifeforms are using human seed pods to duplicate and replace people. For all intent and purposes, they look, move, and talk exactly the same. But perhaps the most telling human characteristic is absent. Their sense of feeling. Their emotions.
And as Miles and his girl frantically flee the invasion it continues to become more and more obvious that this paranoia-filled chiller is putting a voice to the anxiety of the age. Both in Hollywood and elsewhere. Both because of the Red Scare and the backlash caused by Joseph McCarthy’s witch hunts. Because that was the fear. That the Communists were infiltrating us. We couldn’t see them. We couldn’t weed them out because they were too well concealed. But another horror brought up by this film are the implications of having those you know and love turn against you and betray you.
All of that is in this film whether you want to acknowledge or not. But on a more cursory level, it certainly delivers on the horror and it’s the best kind of horror that’s not so much popping out at us. In those cases, the scare soon dies. It’s gone. But in the case of Body Snatchers, the horror is much more insidious as it burrows further and further into our brains. It has us unsettled from the first frame and it does not subside really until the film is over. Even with a “happy” ending, that cannot fully neutralize the impact of this 50s classic.