Welcome to The Pod People Film Festival, The Dork Report’s third mini movie retrospective. After catching up with Ridley Scott and George A. Romero, we now take a look at four adaptations of Jack Finney’s novel The Body Snatchers, plus one unofficial homage / satire.
- Invasion of the Body Snatchers (1956)
- Invasion of the Body Snatchers (1978)
- Body Snatchers (1993)
- The Faculty (1998)
- The Invasion (2007)
We interrupt this retrospective look at the four official feature film adaptations of Jack Finney’s novel The Body Snatchers with a kind of bonus track, a remake in all but name, Robert Rodríguez’s The Faculty.
It may be a touch campy, but hugely entertaining. All four official versions are deadly serious, so it’s refreshing for The Faculty to play the concept for laughs. Rodríguez isn’t known for restraint, but most of the fun is likely attributable to Kevin Williamson, the writer of Scream, one of the most influential movies of the 1990s. Yes, I’m prepared to back that claim up: it was one of the first mainstream movies to be overtly Postmodern, and not in a stuffy college literature seminar sense, but one that found lowbrow thrills & chills from a highbrow intellectual perspective over the horror genre. That is, Scream was both a knowing satire of the horror movie genre, in which its own characters knowingly commented upon the events that befell them with all the knowledge that comes from being movie geeks well-versed in horror movie cliches, but was also simultaneously an actual functioning horror movie itself. Other 1990s movies along those lines were Wild Things (one of the sexiest, twistiest noirs ever made), Starship Troopers (a hilariously bleak vision of a fascistic world inherited by children), and even Shakespeare in Love’s playful plays-within-plays-within-a-movie (read The Dork Report review).
There’s be no more tears… in gym class
A prologue introduces us to the namesake faculty, from which the great (and sexy) Bebe Neuwirth checks out early, or at least seems to. The adult cast is wonderful overall, even though some parts are little more than cameos. Robert Patrick brings all of his ruthless Terminator T-1000 steeliness to Coach Willis (like Dr. David Kibner – Leonard Nimoy – in Philip Kaufman’s 1978 Invasion of the Body Snatchers, a villain both before and after the invasion), the glamorous Famke Janssen is an improbably mousy loner, Jon Stewart as a sympathetic science teacher, and Salma Hayek is hilarious in her brief appearance as Nurse Rosa Harper. On the downside, fat slob Harry Knowles of AintItCoolNews.com notoriety also haunts the faculty room (this was 1998, after all).
We finally meet the kids in a montage set to a cover version of Pink Floyd’s infamous antiauthoritarian anthem Another Brick in the Wall Part II, with onscreen text resembling Gerald Scarfe’s scrawled lettering on the original The Wall album sleeve. They’re a next-generation Breakfast Club comprised of every key high school demographic: goth loner Stokely (Clea DuVall), hot ice queen Delilah (Jordana Brewster), meathead athlete Stan (Shawn Hatosy), bad boy Zeke (Josh Hartnett), meek nerd Casey (Elijah Wood), and sweetness-and-light Southern belle Marybeth (Laura Harris).
This meeting of The Breakfast Club II is called to order
Zeke is a slacker genius with an awful haircut that hasn’t dated well. He has deliberately failed out in order to relive the glory of his senior year within the safe bubble of being Big Man on Campus. He peddles a powdered narcotic (actually mostly caffeine), drives a fast car, and makes the girls swoon. But underneath it all is an intellect missing an aim or purpose. Good for him, then, that an alien invasion gives him the opportunity to step up.
Troubled goth girl Stokely disguises herself as a lesbian to avoid human contact. One wonders why, then, she’s not hassled by the school’s other lesbians. Like cuddly misfit Allison (Ally Sheedy) in The Breakfast Club (1985), Stokely eventually conforms to straight-girl norms by dressing in pink and dating the jock. DuVall is said to be gay or bisexual, so I wonder how she felt about playing such a cop-out character. But this oddly conservative moment aside, the character is the key to the Postmodern, metafictional nature of the movie. Stokely is a science fiction fan that explicitly references Jack Finney’s novel The Body Snatchers (but not any of the movies). In fact, she disparages the book, claiming it’s a poor ripoff of Robert A. Heinlein’s The Puppet Masters.
All Body Snatcher movies to date featured sentient brussels sprouts that create evil duplicates of humans, destroyed the originals, all with the aim of bringing a form of peace and harmony: a uniform society in lockstep synchronicity. But these pod aliens are more overtly evil. These aquatic parasites that temporarily take over bodies are no emotionless drones, but are actually remarkably lusty. They clearly relish the sublimation of the students, and stage a football game like a Nazi Party rally.
All of which begs the question, if the aliens are like unleashed, uninhibited versions of our own ids, what’s the difference between them and, say, a high school kid hopped up on hormones? As one of them aptly puts it, “I’m not an alien, I’m just discontent.”
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