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 <email@example.com>
A few scenes, such as the interior of Miles Bennell's office, were done at Sunset Studios. The greenhouse scene was also done in the studio because there were so many technical elements to be controlled when the pods burst open and bubbled, revealing the replicas of the characters. See more »
In the beginning, when Miles is picked up by his nurse at the train station and she opens the car's back door for his suitcase you can see the back seat upholstery is a very wide tuck & roll. A few moments later as they are riding in the car you see it is a very tight tuck. See more »
[mob chases Miles to the highway]
Let him go. Nobody will ever believe him.
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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 »
Five cuts were made by the British censors on its initial release, mainly references to Burke and Hare, the original bodysnatchers. This cut print has been the only one available in the UK until 1998, when a complete widescreen version appeared on the budget video label 4-Front. 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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