Everyone remembers Andrew Davis’ The Fugitive for Harrison Ford and Tommy Lee Jones’ chemistry (despite rarely sharing the screen) and its iconic action pieces (especially the train and dam sequences). But all of this must hang upon a plot framework, and the lopsided movie’s momentum dissipates as it gets bogged down in the details. The first half is so singularly focused on thrills, that it fails to set up the unexciting pharmaceutical company corruption details introduced too late in the game. For a movie like this, the conspiracy should be as interesting as the action.
It’s also hard to overlook the fact that the Marshal’s (Jones) most defining character trait, that the audience is clearly expected to admire, is that he proudly does not bargain or negotiate. Faced with a hostage situation involving a person of color, his solution is to summarily execute. I suppose this is to raise the stakes for the titular fugitive — you’ll be shot dead before you’re arrested — but even to early ’90s audiences, it’s impossible to imagine a U.S. Marshal treating an affluent white felon the same way as a poor black felon. Seems awkward now that this role earned Jones an Academy Award and a sequel.
Welcome to The Pod People Film Festival, our 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.
Yet another remake of Invasion of the Body Snatchers might seem an odd project for iconoclast director Abel Ferrara, known for gritty urban crime sagas centered around profoundly compromised protagonists. In stark contrast, the lead in Ferrara’s most conventional movie is a good-natured teenage girl, a world apart from the crazed Harvey Keitel of Bad Lieutenant or Christopher Walken of King of New York. Marti’s (Gabrielle Anwar) biggest problems are a nomadic lifestyle, a moody little brother, and a new stepmother.
This version of the bodysnatchers story sheds “Invasion” from the title, which is strange considering it ought to be the key word for a movie focused on the U.S. military, at home not long after the first Gulf War (a conflict thought to be resolved at the time). With America at peace and a Democrat in office, Body Snatchers was probably one of the first mainstream feature films to directly mention the conflict, along with Courage Under Fire (1996) — David O. Russell’s ruthless satire Three Kings being still some ways off. Abbreviating the title was a missed opportunity to play with the ambiguity between a military confirmed as professional, government-sanctioned invaders, and an extraterrestrial force that easily infiltrates them. But don’t worry, the word “Invasion” would be picked up again for Oliver Hirschbiegel’s 2007 abomination starring Nicole Kidman.
On home soil, an Alabama army base under the command of General Platt (who else but R. Lee Ermey?) must suffer the indignity of bending over for The Environmental Protection Agency as it investigates the army’s storage of chemical weapons. The sympathetic Major Collins (Forest Whitaker) reports increasing cases of mental illness in his infirmary (paranoia, fear of sleep, etc.). He suspects the toxic chemicals, making it impossible to miss the allusion to the controversial Gulf War Syndrome.
Marti falls in love with helicopter pilot Tim (Billy Wirth), so bland and flat that it’s hard to tell if he’s a pod person (to be charitable, maybe this was a deliberate casting call, meant to keep the audience guessing). She is befriended by Platt’s punk daughter Jenn (Christine Elise), a refreshing dose of nonconformism among the rank and file – indeed her rebelliousness serves as a canary in the coal mine to measure the progress of the invasion. We genuinely feel for Marti’s little brother Andy (Reilly Murphy, a rare child actor that does not annoy) as he senses his school playmates are “bad” and witnesses his stepmother (Meg Tilly) die firsthand. Incidentally, Tilly’s performance as the pod-stepmother is excellently weird.
Like Philip Kaufman’s 1978 version of the same material, Ferrara indulges in the gore and female nudity de rigueur to the horror genre. Marti disrobes for a very close encounter with groping alien tendrils in a bathtub, and later runs through an infirmary full of gross, half-formed pod people. The very pretty Anwar is so convincingly young-looking that her unexpected nude scenes make one feel decidedly uncomfortable.
In all three versions of the story so far, a pod person delivers some variation of the following warning to human resistors: there’s nowhere to run, nowhere to hide, and there’s no one else left like you. So why do the pod people always work so hard to chase down the few remaining humans? On the evidence of Body Snatchers, they’re still very easily defeated, and the climactic ending is something of a dud.
The infected army base plots to distributes pods to other bases, and eventually amass an armed force capable to taking over the world. But Marti and Tim manage to blow up the base and as entire convoy with just one helicopter. Why was it fully armed during peacetime, anyway? The first film ended with humans just beginning to mobilize against the invaders. The second ended with humanity totally overswept. Now the third ends with us winning. How will Nicole Kidman fare in Invasion? Tune in after our next review, an interlude to look at Robert Rodriguez’ enjoyable homage The Faculty, to find out…