The demonic

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Movie
German title The demonic
Original title Invasion of the Body Snatchers
Country of production United States
original language English
Publishing year 1956
length 80 minutes
Age rating FSK 16
Rod
Director Don Siegel
script Daniel Mainwaring
production Walter Wanger
music Carmen Dragon
camera Ellsworth Fredericks
cut Robert Eisen
occupation
synchronization

The Body Snatchers (also: Invasion of the Body Snatchers : Original Title Invasion of the Body Snatchers ) is in black and white twisted American science fiction - film by Don Siegel from the year 1956 . It is based on the novel The Body Snatchers (The Body Snatchers) by Jack Finney and is, after initially only scant press coverage, now considered one of the most representative of its genre in the 1950s.

The film is about extraterrestrial invaders who gradually replace the inhabitants of a Californian city ​​with outwardly identical but callous doppelgangers . A local doctor tries to stop the invasion.

action

Dr. Hill, a psychiatrist at a government mental institution, is called to a hospital emergency room in the middle of the night. There a visibly agitated man is being held who wants to warn those present of the danger that he has just escaped. If the regulatory authorities were not notified immediately, it would be too late. Dr. Hill is ready to listen to the patient. The man, a doctor named Miles Bennell, describes the events of the past few days for Hill:

Due to an emergency call from his nurse Sally, the doctor Miles Bennell breaks off his stay at a medical congress and travels back to his hometown, Santa Mira, California. Once there, Sally tells him that over the past two weeks there have been a pile of calls from residents who urgently wanted to speak to Bennell, but without giving the reason for their call. Bennell's childhood friend Becky Driscoll enters the practice and says that her cousin Wilma does not recognize her uncle Ira. Wilma insists that the current Ira looks like her uncle, but that he is just someone who pretends to be her relative. The next patient is little Jimmy Grimaldi. Jimmy does not want to return home because the woman who is waiting for him there is no longer his mother.

Bennell and Becky go out. On the way they meet Bennell's doctor colleagues Pursey and Dan Kauffman, the local psychiatrist . They too were confronted with reports from estranged relatives. Kauffman considers the phenomenon to be mass hysteria . Bennell receives an emergency call from his friend Jack Belicec at the restaurant where Bennell and Becky have stopped. Bennell drives to Belicec, who shows him a lifeless body that he found in his house. The body looks like a copy of Jack, but whose face is not yet fully formed and whose fingers do not leave any individual prints. Bennell advises Jack and his wife Teddy to watch the body, then he brings Becky home. Although it is the middle of the night, Becky's father comes out of the basement when she arrives, where he supposedly had something to do.

During the night, Teddy sees Jack's doppelganger open his eyes; he also has a wound on the palm where Jack cut himself earlier. Jack and Teddy drive to Bennell, who has a bad premonition and rushes to Becky. In the basement he finds a body that resembles Becky. He brings Becky out of the house, picks up Jack and Teddy on the way and drives them to Jack's apartment. However, Jack's doppelganger has disappeared. The psychiatrist Kauffman called in tries to explain what happened rationally. Because Becky's duplicate has also disappeared in the Driscolls' house, Kauffman believes Bennell is hallucinating . The police told them that the body of a criminal with his fingertips etched away was found in a field. Bennell and Jack give up for now.

The next day, Wilma speaks to Bennell and explains that her suspicions about her uncle have disappeared and that she no longer needs medical attention. Jimmy Grimaldi and his mother await him in his practice, and they get along well again. Bennell becomes suspicious and speculates whether he is being fooled. In the evening he, Becky, Jack and Teddy discover huge pods in Jack's garden that contain human bodies that resemble the four. Bennell concludes that in this way people are replaced by doppelgangers; this apparently happens at night when the person concerned is sleeping. Because it is not possible to call outside, Jack and Teddy drive off to get help. Bennell destroys the duplicates and drives Becky to his assistant Sally's apartment in the hope that it has not yet been replaced. Instead, he encounters a gathering of doppelgangers, including Becky's father. Bennell and Becky realize that they can no longer trust anyone and hide in Bennell's office.

The next morning they watch from the window how countless pods are loaded and brought to the surrounding cities. Jack and Kauffman enter the practice. Both have also been replaced and explain what happened: The pods came as seeds from space and now copy human bodies. The duplicates are numb, feel neither love nor hate, neither joy nor pain, and their thinking is conformed. Bennell and Becky are also supposed to be exchanged, but they manage to escape. Exhausted, they hide in an old mine shaft. Bennell leaves Becky alone for a moment and observes a nearby plantation where new pods are being grown. When he returns, Becky has also been exchanged and calls in the pursuers. Bennell runs to the next highway and tries in vain to stop the cars rolling in the direction of Los Angeles and warn drivers of the danger. He jumps on a truck and is horrified to see that it is full of pods. His warning call “you're next, you're next” (“you are the next”) goes unheard.

Bennell finishes his report. Dr. Hill consults with the ward doctor, who thinks the story is made up. At that moment, a patient who was involved in a car accident and was found under giant pods is brought in. The doctors understand what has happened and inform the federal police .

background

Literary template

The film is based on the novel The Body Snatchers (The Body Snatchers) by Jack Finney , the first in 1954 as a serial in Collier's Magazine published. The Demonic was the first film adaptation of the material. The most significant change compared to the original concerns the end: Daniel Mainwaring's original script suggests the invaders' triumphant advance. In the novel, on the other hand, despite the seemingly hopeless situation, people oppose such strong resistance to the aliens that they give up their plan to conquer the earth and leave the planet. In addition, the life of the replaced people or “pods” is only five years in the template, after which the extraterrestrials would have to look for a new planet with new hosts - leaving behind a depopulated earth. The film doesn't mention a limited lifespan.

production

Production preparation and shooting

Walter Wanger , producer at the film studio Allied Artists , suggested Finney's novel as film material, whereupon Allied Artists acquired the rights. Wanger engaged the director Don Siegel , with whom he had previously shot the successful prison film Terror in Block 11 . Siegel, in turn, recommended Wanger Daniel Mainwaring as a screenwriter, with whom he had worked on Die Rote Schlinge , among others , after Terror-in-Block-11 author Richard J. Collins had to cancel Wanger's new project due to deadlines.

Production costs, originally estimated at US $ 420,000 , then reduced to $ 350,000 through the work of Allied Artists, finally came to just under $ 385,000. Measured against the average cost of a US film production, which was around $ 1 million in 1950, The Demonian was in the B-movie category . Allied Artists, which emerged from the Monogram Pictures studio , specialized in low-cost productions in the film industry.

At Walter Wanger's request, Die Demonischen was to be filmed "on location" (= at the original location) in Mill Valley , California , where the novel was based. This project was not implemented for financial reasons, and the film was ultimately shot in just under half a dozen cities that function as the fictional Santa Mira, as well as in Los Angeles and on the Allied Artists studio grounds. Economic factors had already made the difference when it came to the casting: instead of the actors Wanger had envisaged, Gig Young , Dick Powell or Joseph Cotten in the role of Miles Bennell and Anne Bancroft , Donna Reed , Kim Hunter or Vera Miles as Becky Driscoll, they finally became relatively unknown cast members Kevin McCarthy and Dana Wynter . The film was made in March and April 1955, with additional shooting days in September of the same year. The working title, analogous to the novel, was initially The Body Snatchers , later They Came from Another World and finally Invasion of the Body Snatchers .

Sam Peckinpah has a small supporting role. His assertion, repeatedly expressed in later years, that he was involved in the script, he only withdrew after a threatened lawsuit by screenwriter Daniel Mainwaring at the Writers Guild of America .

Image format

Director Siegel shot Die Demonischen in the American widescreen format (1.85: 1), in which the film is recorded in normal format ( 1.33: 1) and later projected in a concealed format . However, Allied Artists decided in the post-production phase to distribute the film in Superscope format, an anamorphic format whose aspect ratio (2.0: 1) resulted in the loss of image information at the top and bottom of the image. Wanger protested against this intervention and cited, among other things, the graininess resulting from the changed format and the falsification of the original image composition, but could not prevail. - In the Federal Republic of Germany , Die Demonische was advertised on posters in Superscope format, but film copies in non-anamorphic normal format were also circulating.

Subsequently added scenes

The frame story in which Bennell tells a doctor about the invasion was added under pressure from Allied Artists. Don Siegel notes in his autobiography that Walter Wanger, like Siegel himself, rejected these additional scenes. In an interview Siegel added derogatory: “The film was almost ruined by the opening and closing scenes added by those in charge at Allied Artists. I don't like them. ”(George Turner states in his article for American Cinematographer that Wanger also wanted to add a prologue and epilogue, but with the intention of giving the film a documentary touch instead of a more optimistic resolution.) These additional scenes were made by Screenwriter Daniel Mainwaring written and shot by Siegel himself in September 1955. According to the Internet Movie Database , the prologue and epilogue were removed from the 1979 re-release. Steve Biodrowski of Cinefantastique magazine reports that the copies given to revival cinemas and film classes still contain these scenes, as did the version shown in 2005 when Siegel was honored by the Academy of Motion Picture Arts and Sciences .

Although the majority of the reviewers see the effect of the film weakened by the framework plot, George Turner and Danny Peary rate it positively, whereby Peary sees a reversal of the originally intended message of the film through the additional scenes (see topic ).

Film start

Premiere

The Demonic started in the US on February 5, 1956 and in the same year (with cut restrictions) in the UK . In the FRG the film, which was awarded by RKO Pictures , opened on May 24, 1957, in France, however, only in November 1967. At the American box office, the receipts in the first exploitation amounted to $ 1.2 million.

German dubbed version

The German synchronization changed some of the names of the protagonists: Miles to - also pronounced in German - Peter, Becky to Mary and Uncle Ira to Uncle Anton.

role actor speaker
Miles Bennell Kevin McCarthy Paul Edwin Roth
Becky Driscoll Dana Wynter Margot Leonard
Jack Belicec King Donovan Gerd Martienzen
Dr. Dan Kauffman Larry Gates Curt Ackermann
Stanley Driscoll Kenneth Patterson Wolf Martini
Wilma Lentz Virginia Christine Tilly Lauenstein

Subject

Political allegory

Since its publication, Die Demonischen has repeatedly been interpreted as a political allegory, which David Wood of the BBC sums up as follows: “You can literally feel the anti-communist paranoia of the post-war period, at the same time you are tempted to interpret the film as a metaphor for the tyranny of the McCarthy era . "Danny Peary sees Siegel and Mainwaring's original version, which ends with the warning call“ you are the next one ”, directed against the McCarthy era, whereas the framework (the involvement of the authorities) aims at a reversal into the opposite, towards an anti-communist standpoint .

In the Soho Weekly News , Noël Carroll explains what he sees as the anti-communist orientation of the film: “The vegetable metaphor takes the anti-communist rhetoric of the 'spread' of communism at its word [...] There is a scene in which the 'Pod people' (e.g. : Pod people) are called together at the central square of the place, where a loudspeaker issues the commands of the day. This is the quintessence of the image of socialism that prevailed in the 1950s. "

Al LaValley, on the other hand, interprets these very motives as a warning of a looming totalitarian America: “If the 'Pods' seem to embody the popular image of a communist totalitarian state, it is only because the government-ruled, bureaucratic and conformist 1950s themselves an America created like the picture of the Soviet Union presented here . "

Screenwriter Mainwaring took an openly left-liberal stance. (The information, which can be traced back to an interview with Joseph Losey , among other things , that Mainwaring was itself on the “ blacklist ” of the Committee for Un-American Activities was described as incorrect by Mainwaring's widow.) Nevertheless, according to Brian Neve in his book Film and Politics , the “totalitarian mob” shown in the film can be attributed to both Senator McCarthy's supporters and the communists. Neve places Die Demonischen in a row with Robert Aldrich's Rattennest and Orson Welles ' In the Sign of Evil and states that the authors' former liberal hopes are falling apart as the common denominator of the three films.

Walter Mirisch from the production company Allied Artists contradicted these political interpretations: none of the participants, whether producers, directors or authors, had anything else in mind "than a thriller, plain and simple". Don Siegel was more specific in interviews about his intentions: “I thought this was a very important story. I think the world is populated with 'pods' and I wanted to show them. I think a lot of people have no feeling for cultural things, for pain, for suffering. […] The political connection to Senator McCarthy and totalitarianism was inevitable, but I didn't try to emphasize it. I think films should primarily entertain, and I don't want to preach. ” Georg Seeßlen also emphasizes this horror born out of everyday life :“ [The] society of empty people can be derived from both the socialist societies and the capitalist ones with their system TV, work and habit deduce. [...] In fact, the tremendous 'normality' is what actually horrifies [...] the specific paranoia of Siegel's film [stems from] the fact that the fantastic is nothing more than the normalized normality. "

other topics

The threat from within - in the form of doppelgangers who replace people, or people rendered willless - is often found in the science fiction and horror genre. A similar situation can be found in literary terms, for example, in Robert A. Heinlein's The Puppet Masters (German: The Puppet Players , formerly also space mollusks conquer the earth ) from 1951 or in the films Danger from Space (1953, director: Jack Arnold ), Invasion of Mars (1953, directed by William Cameron Menzies ), Enemies from Nowhere (1957, directed by Val Guest ) and I Married a Monster from Outer Space (1958, directed by Gene Fowler junior ). In An Illustrated History of the Horror Film, Carlos Clarens creates a connection between the increasing number of science fiction films about the loss of being human and individual feelings and the reports on brainwashing techniques that were widely published in the wake of the Korean War .

The seemingly idyllic small town, beneath the surface of which strange events take place, was also thematized in Invasion of Mars and in Jack Arnold's films such as Danger from Outer Space .

There is a mental illness, the Capgras syndrome , first described in 1923 , in which the sick believe that close relatives and friends have been exchanged for doppelgangers. Whether the novelist Finney, screenwriter Mainwaring or any of the other people involved in the film was aware of this symptom is not known.

Reviews

Walter Wanger tried to get critics like Bosley Crowther of the New York Times interested in his production at the start of the film, but in vain. The majority of the reviews in the US were therefore limited to industry journals such as Variety .

Variety was benevolent: “Characters and scenes are sharply drawn. Don Siegel's tight directing keeps up its fast pace, although in his efforts to increase his climax he lets McCarthy overwork in many places. ” On the other hand, the criticism of the German film service , which was also close to the start of the film, fell (printed in 6000 films ) downright negative. “Utopian horror film from a sick imagination,” was the brief verdict.

In later years Die Demonischen received more attention from the critics and was (almost) unanimously acclaimed as a classic and milestone of its genre. According to Hahn / Jansen and Dirk Jasper , the film owed its rediscovery mainly to European (and especially French) critics and film buffs .

US critic Pauline Kael , known for her often devastating reviews, cautiously praised the film as a “B-picture classic” and added: “This simple and uncomplicated exponent of science fiction makes little use (to put it mildly) of the possibilities of cinema , but he has an idea that confirms everyone's suspicions. People are turned into vegetables - and who can tell the difference? "

Leonard Maltin judged in his Movie Guide : “Classic, influential and still very scary science fiction film” , and Anne Bilson came to the same conclusion in the Time Out Film Guide : “A masterpiece of science fiction cinema […] exciting and terrifying in every way. "

In contrast, the reviews by French critics and filmmakers Jean-Pierre Coursodon and Bertrand Tavernier were devastating. In 50 Ans de Cinéma Américain they stated: “A banal staging that almost always falls short of the possibilities of the topic, which schematizes instead of enriches, neglects atmosphere and characters in favor of pure action; unable to create a climate of increasing discomfort that is attributable to the shift of the film from the everyday to the fantastic. "

The reviews from German-speaking countries, also dating from later years, emphasized the film's political and cultural subtext . In the meantime, the film service had revised its view significantly, as can be read in the lexicon of international film : “Oppressive negative utopia. The film, carefully staged with economical means, avoids visible horror elements and relies on the effects of intellectual and psychological terror. Initially rejected by the criticism, the production, which is often interpreted politically (McCarthy era), is today considered a subtle classic of its genre and an early masterpiece by Don Siegel. "

For Die Zeit critic Helmut W. Banz, Die Demonischen was "still the best science fiction film on the subject of the invasion of extraterrestrials" and a "terrifying vision of a world of empty 'human shells' (collaborators and conformists)" in 1978 " and "a haunting political pamphlet" . In their lexicon 'Films on TV', Adolf Heinzlmeier and Berndt Schulz rated the film as a “cult film” and, in terms of craftsmanship, old-fashioned but trend-setting “science fiction horror strips about crises and fears of life” .

Aftermath

Awards

In 1994, the demonic was included in the National Film Registry of US films that are particularly worth preserving. He also made it onto the top lists of the American Film Institute , Time Magazine and the Chicago Film Critics Association in polls .

In retrospect, director Don Siegel described The Demonic as his “probably best film”. In its obituary for actress Dana Wynter, the Guardian newspaper also rated The Demonic as Wynter's best film. The New York Times and the BBC gave the film the same rating in their posthumous tribute to leading actor Kevin McCarthy.

Remakes

The demonic should remain the most faithful film adaptation of the novel. The later remakes were increasingly limited to individual motifs such as the lack of emotion of the 'pod people', their de-individualized form of society and the 'exchange' of those affected in their sleep.

In 1978 the body eaters come by Philip Kaufman appeared with Donald Sutherland in the lead role. The location was moved to San Francisco , but some protagonist names and key scenes were retained. Kevin McCarthy and Don Siegel , starring and director of The Demonic , made cameos . While Die Demonischen still suppressed what happened to the original human bodies, the remake clarified this point: The bodies crumble into dust and are disposed of by the garbage disposal. The film version from 1993 took up this idea again.

Body Snatchers is from 1993 by Abel Ferrara . The majority of the film takes place on an American military base. Only the basic motifs such as the exchange in sleep and the growing of the duplicates in pods were taken from the template.

In 2007, the new adaptation by Oliver Hirschbiegel appeared under the title Invasion with Nicole Kidman and Daniel Craig in the leading roles. The pods from which the human-like duplicates slip no longer appear here; instead, the extraterrestrial spores settle directly in the human brain and thus trigger the 'transformation'. In addition, an unofficial remake was made in 2005 under the direction of Albert Pyun under the title Invasion - attack the body eater (OT: Infection ) in found footage style , which in 2007 a sequel under the title body eater 2 - The return (OT: Invasion of the Pod People ) brought about.

The Demonic has also been parodied several times, the best known examples being The Secret of Centerville (1983) and The Faculty (1998) and the Looney Tunes parody Invasion of the Bunny Snatchers (1992).

DVD / BD publications

  • The film was released in 1998 as Invasion of the Body Snatchers by Republic in the USA on DVD . This DVD contains the film in Superscope format (2.0: 1) and also in a 1.33: 1 version. The latter, however, is not the original normal image format in which the film was shot, but rather a pan-and-scan scan of the Superscope version, in which further image information is lost. In 2002 Artisan Entertainment released an unchanged new edition.
  • Éditions Montparnasse from France published a pan-and-scan version (1.33: 1) in 2000 under the title L'Invasion des profanateurs de sépulture .
  • In Germany, Kinowelt released Die Demonische in 2006 on DVD, also in 2.0: 1 format. In addition to the original language, the DVD contains the old German cinema dubbing.
  • Universal released a DVD in the UK in 2007 containing the film in the original black and white version and in a computer-colored color version.
  • In Spain in 2007 two labels, L'Atelier 13 and Suevia, released the film under the title La Invasión de los Ladrones de Cuerpos . Both DVDs contain the 2.0: 1 version.
  • In 2012 the US company Olive Films released the film on BD in a 2.0: 1 format.
  • In Germany published film Jewels (Alive AG) of the Body Snatchers on 23 February 2018 DVD and BD format 2.22: 1 (4: 3 Letterbox). In addition to the original language, the DVD contains a German cinema dubbing and a trailer.

literature

  • Jack Finney: Die Körperfresserommen (Original title Invasion of the Body Snatchers ), Goldmann, Munich 1979, ISBN 3-442-23324-0 .

Web links

Individual evidence

  1. ↑ a b c d e f g h i George Turner: A Case for Insomnia , in: American Cinematographer , March 1997, American Society of Cinematographers, Hollywood 1997.
  2. ^ A b c d e f Al LaValley, Invasion of the Body Snatchers , Rutgers University Press, 1989.
  3. ↑ Joel W. Finler, The Hollywood Story , 3rd edition, Wallflower, London / New York of 2003.
  4. ↑ a b c Invasion of the Body Snatchers on IMDB.com.
  5. ↑ Normal format copies were made in Germany e.g. B. distributed by the film distributor "Die Lupe", which specializes in film classics. However, the image section of these copies did not correspond to the original, complete recording format, but to a Superscope widescreen with cropped sides, with additional loss of image information as a result.
  6. ↑ a b Don Siegel: A Siegel Film. To Autobiography , Faber and Faber, London / Boston 1993
  7. ↑ "The film was nearly ruined by those in charge at Allied Artists who added a preface and ending that I don't like." - Interview with Don Siegel in Alan Lovell: Don Siegel. American Cinema , London 1975.
  8. ↑ Article about the film on Cinefantastiqueonline.com
  9. ^ A b Danny Peary: Cult Movies , Dell Publishing, New York 1981.
  10. ↑ The Demonic on the British Board of Film Classification
  11. ↑ The demonic in the German dubbing index .
  12. ↑ "The sense of post-war, anti-communist paranoia is acute, as is the temptation to view the film as a metaphor for the tyranny of the McCarthy era." - Review by David Wood, BBC, 2001.
  13. ^ "The vegetarian metaphor literalizes Red-scare rhetoric of the 'growth' of Communism [...] There is a scene in which the pod people are assembled in the town square, where a loudspeaker reads off the day's orders; it is the quintessential Fifties image of socialism. ”- Review by Noël Carroll in: Soho Weekly News , December 21, 1978, New York, 1978.
  14. ↑ "If the pods in Invasion seem to incarnate the popular image of a communist totalitarian state, it is only because the government-dominated, bureaucratic, and conformist fifties was itself creating an America like this picture of Soviet Russia." - Al LaValley, Invasion of the Body Snatchers , Rutgers University Press, 1989.
  15. ↑ Michel Ciment: Conversations with Losey , Methuen & Company, London, 1985.
  16. ^ Frank Krutnik: "Un-American" Hollywood: Politics and Film in the Blacklist Era , Rutgers University Press, 2007.
  17. ^ Brian Neve: Film and Politics in America. A social tradition , Routledge, Oxon, 1992.
  18. ↑ "From personal knowledge, neither Walter Wanger nor Don Siegel, who directed it, nor Dan Mainwaring, who wrote the script nor the original author Jack Finney, nor myself saw it as anything other than a thriller, pure and simple." - Walter Mirisch: I Thought We Were Making Movies, Not History , University of Wisconsin Press, 2008.
  19. ↑ "[...] I felt that this was a very important story. I think that the world is populated by pods and I wanted to show them. I think so many people have no feeling about cultural things, no feeling of pain, of sorrow. [...] The political reference to Senator McCarthy and totalitarianism was inescapable but I tried not to emphasize it because I feel that motion pictures are primarily to entertain and I did not want to preach. ”- Interview with Don Siegel in Alan Lovell: Don Siegel . American Cinema , London 1975.
  20. ^ Georg Seeßlen: Cinema of the Utopian. History and mythology of science fiction films , Rowohlt, Reinbek near Hamburg, 1980.
  21. ↑ Carlos Clarens: An Illustrated History of the Horror Film , Capricorn, 1968.
  22. ^ Henry M. Taylor: The Capgras Syndrome in Film - Don Siegel's "Invasion of the Body Snatchers" and its Legacy , in: Cinemascope, Independent Film Journal , Volume 2, May - August 2005. PDF download ( Memento from May 1 2015 in the Internet Archive ) ( ZIP ; 1.9 MB)
  23. ↑ "[...] characterizations and situations are sharp. Don Siegel's taut direction is fast-paced generally, although in his efforts to spark the climax he permits McCarthy to overact in several sequences. ”- Review ( memento of November 13, 2012 in the Internet Archive ) in Variety , December 31, 1955.
  24. ↑ 6000 films. Critical notes from the cinema years 1945 to 1958 . Handbook V of the Catholic film criticism, 3rd edition, Verlag Haus Altenberg, Düsseldorf 1963, p. 67
  25. ↑ Ronald M. Hahn, Volker Jansen: Lexikon des Science Fiction Films , 5th edition, Wilhelm Heyne Verlag, Munich 1992.
  26. ^ Review by Dirk Jasper on film-lexikon.de, accessed on March 6, 2012.
  27. ↑ "A B-picture classic. This plain and inexpensive piece of science fiction employs few of the resources of the cinema (to put it mildly), but it has an idea that confirms everyone's suspicions. People are being turned into vegetables - and who can tell the difference? "- Pauline Kael: 5001 Nights at the Movies . Holt, Rinehart and Winston, 1982.
  28. ^ "Classic, influential, and still very scary science-fiction [...]." - Leonard Maltin's 2008 Movie Guide . Signet / New American Library, New York 2007.
  29. ^ "A masterpiece of sci-fi cinema [...] thrilling and chilling on any level." - Time Out Film Guide, Seventh Edition 1999 . Penguin, London 1998.
  30. ↑ […] une direction banale presque toujours inférieure aux possibilités du sujet, qu'elle schématise au lieu de l'enrichir, négligeant atmosphere et personnages au profit du seul mouvement, échouant à créer le climat de malaise croissant qui aurait dû conduire le film you quotidien au fantastique. - Jean-Pierre Coursodon, Bertrand Tavernier: 50 Ans de Cinéma Américain . Paris 1995, p. 874
  31. ↑ The Demonic in the Lexicon of International FilmsTemplate: LdiF / Maintenance / Access used .
  32. ↑ Die Zeit , No. 27, June 30, 1978, p. 39
  33. ^ Adolf Heinzlmeier, Berndt Schulz: Lexicon "Films on Television" (extended new edition). Rasch and Röhring, Hamburg 1990, ISBN 3-89136-392-3 , p. 141
  34. ↑ List of films in the National Film Registry.
  35. ^ "Top 10 Sci-Fi" list from the American Film Institute.
  36. ↑ Invasion of the Body Snatchers in Time Magazine's "ALL-TIME 100 Movies" .
  37. ^ List of 100 Scariest Movies of All Time ( January 6, 2010 memento in the Internet Archive ) of the Chicago Film Critics Association.
  38. ↑ Alan Lovell: Don Siegel. American Cinema , London 1975.
  39. ^ Ronald Bergan in The Guardian , May 10, 2011, London 2011.
  40. ^ Anita Gates in The New York Times , September 12, 2010, New York 2010.
  41. ^ Online edition of BBC News , September 13, 2010.
  42. ↑ Horror Movie A Day: Invasion (2005)
  43. ↑ Invasion of the Pod People (2007)
This article was added to the list of articles worth reading on March 13, 2012 in this version .