Dr. Miles Bennell returns to his small town practice to find several of his patients suffering the paranoid delusion that their friends or relatives are impostors. He is initially skeptical, especially when the alleged doppelgangers are able to answer detailed questions about their victim's lives, but he is eventually persuaded that something odd has happened and determines to find out what is causing this phenomenon.Written by
Mark Thompson <firstname.lastname@example.org>
Upon discovering two pods in the trunk of his car after visiting the gas station, the hero pulls them from the trunk and sets them on fire with a highway flare whereupon they burst into flame. Nowhere else in the film is there any suggestion that these pods are flammable nor would they be if germinating into a human replica. See more »
THE END comes up on the final shot of the film of Miles looking relieved that Dr Hill has believed his story, and is calling the FBI about the alien invasion of Santa Mira. See more »
When standard academy (1.33:1) prints were prepared, the opening credits were re-shot with the "superscope" logo deleted. This print was also used for the original television syndication prints and the early home video releases. See more »
This was the first part of a double bill with Phil Kaufman's remake as the follow-up. I'll say that Siegel is ten times the action director that Kaufman could ever dream of being, that the original Body Snatchers has a cool, thoughtful tone that makes the shock scenes even better. The remake, even though in color and with a bigger budget, is so nervous, so lacking in pace and mood, that your impulse is often to laugh instead of sinking deeper into your seat.
Take just one scene: Kevin McCarthy and Dana Wynter are barricaded in his office, trying to stay awake. Morning comes, and the weirdness begins; people shuffle towards the square to pick up their packages, the leaders calling out the districts. Now in daylight the suspense is made more potent, the threat to humans seems greater. Kaufman does this scene at night, losing the mundane horror that Siegel evokes so well. The studio imposed the flashback structure, having McCarthy brought in to talk to a therapist at the beginning and end of the picture. That's the only weakness in the story.
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