It is always a lot harder to see an old movie if you have only been, like me, a movie fanatic for the past ten years. It demands a certain surrendering and adjustment to really appreciate a classic movie, because the pace and standards are so different compared to modern day films. I decided to set aside all knowledge of modern films (say: films released in the past thirty years) and dive into the classics I heard so much about, without actually having seen them. In my quest, I shall concentrate (though some may call this a serious restriction) on classic American cinema. I will try to discuss one work of the rich classic American cinema pallet each month.

The War of the Worlds is based on the famous novel by H.G. Wells dating from 1898, who also wrote The Time Machine and focuses on a new fear and threat for humanity: an alien invasion. This subject may not be completely new if seen in the light of recent films, such as Independence Day and even Close Encounters of the Third Kind, but back in 1953 it had an incredible impact on its audience. World War II had ended only eight years earlier and the Cold War was beginning to develop. The concept of alien life and alien invasion was established some years earlier with the rather successful release of The Day the Earth Stood Still in 1951, although this film had a slightly different and more peaceful (yet moralist) message to the earth: live in peace, otherwise we aliens have to destroy your green planet that is causing a threat to our existence.

Fear of the unknown

The War of the Worlds focuses on a more primary fear – fear of the unknown – and gives us an incredible insight in human behavior in times of peril. At first, the people confronted with a huge radioactive meteor – that later on turns out to contain a spaceship from Mars – want to offer their friendship to the green planet’s new visitors. However, they soon realize that the aliens didn’t come all the way from Mars to sit down and have a cup of tea, but are determined to take over the earth as their own natural resources have nearly worn out. The first scene in which the malignant nature of the aliens is exposed is brilliant. The camera consecutively zooms in at the ship’s periscope-shaped eye and the people trying to approach it, very effectively increasing the viewer’s involvement.

Personal approach

What makes The War of the World so life-like is the personal touch it embodies. It does not simply try to show as much action as its budget and technical standards at the time allowed it to contain, but focuses on individual people, such as Sylvia van Buren, a science graduate and niece of a Methodist preacher (although slightly feminist, she is also portrayed as a rather cliché damsel in distress after the aliens have shown their true nature) and a scientist, Dr. Forrester. Sylvia is played by Ann Robinson, who later re-appeared in the late ‘80’sTV series of The War of The Worlds, and who will also have a small part in Steven Spielberg’s 2005 remake. This individual human approach does not distract from the rather unlikely plot, but provides a better understanding of the impact of such an invasion. On the other hand, The War of the Worlds doesn’t drip with chauvinism and nationalism, like many slick American productions (Independence Day being the biggest example, with its opening shot of an American flag on the moon that becomes overshadowed by a huge alien spaceship).

The power of suggestion

The War of the Worlds also set the standard for more recent horror and sci-fi productions such as Alien and Close Encounters, in its subtle approach to not reveal too much of the aliens. Instead, director Byron Haskin decided to hide the aliens in a proverbial cloud of mystery. There are several small moments in which the Martians are shown, for the first time when Sylvia and Dr. Forrester are hiding in the demolished house, but a full frontal image of them is only shown very briefly. This is a great way to feed the fear of the unknown. Technically, The War of the Worlds was very innovative. It is hard to compare the visual effects with modern day CGI, but is full of signs of real craftsmanship if seen in the light of 1953 standards. Although a lot is achieved by smart editing and even archive footage, as a viewer you are led to believe the invasion is really happening.

The War of the Worlds à la 2005

Steven Spielberg has always stated to be highly influenced by the 1953 version of The War of the Worlds, and his longtime wish to do a modern remake will finally be granted. Due to problems related to the delay of Indiana Jones 4 (due to extensive rewriting of the script) as well as Tom Cruise’s problems with finding locations and a new director for Mission: Impossible 3, the production of Spielberg’s take on the H.G. Wells story was speeded up and initial photography began a mere seven months before its June 2005 release. Spielberg decided to shoot all big action sequences at the beginning of production, enabling his crew to finish the special effects. Spielberg’s vision is more focused on the human aspect of a Martian invasion. Hopefully this won’t result into overly emotional situations, although the choice of the other cast members, including the fastest working child star after Haley Joel Osment, Dakota Fanning (I am Sam, Hide and Seek) and Miranda Otto (The Lord of the Rings, What Lies Beneath) is promising. However, Spielberg has promised us a visually appealing film and at least one scene with a massive alien attack (the way we like it).

Besides Spielberg, American director Timothy Hines has developed his own adaptation of The War of the Worlds (situated around 1898; the time the novel was written), promising the most authentic take on Wells’ novel. Mr. Hines must be highly annoyed because of Spielberg’s plans to move his release to the sprig of 2005 and it is very likely this will lead to an instant flop. Not the fairest kind of competition.