Tobe Hooper’s INVADERS FROM MARS — part of a set of actually quite interesting semi-bad movies he made for bigtime schlockmeisters Cannon (I would never have believe the daywould come when I might feel nostalgic for Cannon, but here we are). LIFEFORCE is a sort of laughable Quatermass-for-and-by-teenage-boys (the monster is the scariest thing ever, a naked girl) and TEXAS CHAINSAW MASSACRE II is genuinely fucked-up and harrowing, if somewhat incoherent. See it — you’ll be punch-drunk afterwards.
In the 50s, designer-director William Cameron Menzies (name-checked in the high school in the 80s version) made an uncategorizable B-movie sub-classic, which tried its damnest to use a juvenile it-was-all-a-dream structure in an interesting way. I never felt it quite worked but always felt it was interesting, and Menzies’ expressionist child’s-eye sets are terrific.
One surprise with Tobe’s remake is how it doubles down on precisely the elements of the original that seemed dangerously hokey thirty years earlier and were least likely to find favour, one would have thought, with an 80s audience. Though there had been a spate of fantasy films with kid protagonists, IFM was never going to be another ET, was it?
The central conceit is that of the genuine psychological condition Capgras Syndrome, in which one imagines intimates have been replaced with impostors. Or, in this case, taken over with NECK IMPLANTS. Neck implants appeared in Menzies film before they became part of the mythos of true life alien encounters, which maybe tells you something about true life alien encounters — but maybe only some of them? The cast essay a wide range of approaches to alien possession: Louise Fletcher does her patented ice bitch act, but more manic, but the best players at this are mom Laraine Newman and especially dad Timothy Bottoms, who is helped by Dan O’Bannon & Don Jakoby’s script, which gives him lots of quirky schtick like gulping scalding coffee supersaturated with undissolved sugar. But his stilted line readings and spooky demeanour are a constant joy. When he unexpectedly appears from behind a bush with a man from the telephone company (everyone hates the telephone company) the scenario seems redolent of cottaging, and Bottoms does great work with his explanation: “He’s from the switching department,” delivered as if this goofy remote-control meatpuppet WANTS the ordinary humans to pick up some Hidden Meaning.
The other best bit of business for the mandroids is when Fletcher, for no discernible reason, starts reciting “A-E-I-O-U” repeatedly and then launches into a bit of Magwitch’s dialogue from Great Expectations (“get me a file and some wittles”). Interestingly, this is the bit right before Magwitch describes his friend who can crawl through tight spaces and eat your liver — a character who became serial killer Eugene Tooms in The X-Files. Magwitch never mentions that his friends sleeps in a newspaper nest like a hamster, but we can still agree that Great Expectations has had more influence on science-fiction than any other Dickens novel. Apart from Rod Serling’s Carol for Another Christmas, and at least until someone makes a post-apocalyptic version of Little Dorrit. Fletcher’s incongruous recital is wonderful precisely because nothing whatsoever can account for it — she’s a science teacher, not an English teacher, and anyway, WTF?
Great-beyond-great Stan Winston aliens — he obviously got the same note about this being a pastiche that Bottoms got.
Hooper seems to be riding the Louma crane for the whole flick, serving up sinewy, twisting moves that may not add tension but certainly impart elegance.
I recently interviewed the film’s production designer, Les Dilley, but failed to ask him about this one. Tough brief — the film doesn’t replicate Menzies’ distorted perspectives designed to make the child hero extra-diminutive and overwhelmed, but it still embraces a form of theatrical stylisation unfashionable at the time (same year as BLUE VELVET, though, interestingly). And then there’s a Geiger-ish sensibility to the aliens’ underground lair. The difficulty is, the first INVADERS was replicating the non-cinematic media influences a child of the era would have, from pulp magazines to comic books, bubble-gum cards, radio shows and maybe TV. In all of which, space and space invaders were a definite thing, with set generic qualities (Menzies dutifully includes Bug Eyed Monsters and a Little Green Man). That world of influences has irreversibly split in a thousand directions by the 80s, so the film struggles to create a unified sensibility that feels like it could be a small boy’s dream, though there are some nice details like a NASA security device that beeps like a digital alarm clock. This is all happening in a suburban bedroom…
And then there’s Bud Cort, who is just insanely wonderful for about five minutes before he gets disintegrated. Most untimely disintegration in sci-fi history, unless you count the guy in ANGRY RED PLANET who waits until the third act before getting dissolved, when he should have taken a Captain Oates long walk as soon as possible and spared us our misery.
There’s a thing: in ANGRY RED P, the Martians warn us to get off their dusty red lawn, but in INVADERS FROM MARS they’ve come here uninvited and dug ruddy great holes. It’s a bit rich, that.
Oh, Karen Black. Nurse. I hope I get sick.