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Invasion of the Body Snatchers (1956), Don Siegel, as the later version of Philip Kaufman in 1978 (where the Body Snatchers become, strangely, the "Body Snatchers") have been regarded by critics as films with a huge load allegorical: the straps us into the inside story of an American city that suffers from subtle, almost subliminal interference between the inhabitants of a kind of fifth column. This allegorical burden is more present in the Siegel film in the Kaufman, undoubtedly because of social and political landscape, where both were the same thing, well, perhaps as now, dominated the time he was shot: a landscape dominated by the Cold War between the U.S. and the USSR and the so-called "witch hunt" promoted by McCarthyism. If the cold war to fear the possibility of a Soviet attack on the American continent at any time, the witch hunt that multiplied the effects of fear with a grand final pirouette: "watch your neighbors because any of them can be a communist ; anyone, even you. "

While Kaufman's film, shot with posterity to the revolutions that shook the 60's, desire to be more sensitive a modern audience (in fact the inevitable fifth columnism message would have resonance here in the power of television, media manipulation, the decline of a civilization becomes mass), is precisely the Siegel film, even of Abel Ferrara, but also the face of Kevin McCarhy shouting, desperate, "follows you!". Although certainly not easy to forget the tense expression of a demonic Donald Sutherland, alerting plant with a shriek almost the others that there was still a woman, Theodora Belicec, for "stealing."


Reason maybe in that Siegel, in contrast to Kaufman, he shot his film with the stated intention of transforming the original story by Jack Finney in an anti-parable, so that any viewer Siegel contemporary, modern or just for hosting this uneasy feeling raised by the stories open, prone to interpretation, characteristic of fables and morals (in fact the end of the film is not an end point, a virtue or defect, as Finney himself, shared with tape Kaufman .) But also, as the fables and morals, Invasion of the Body Snatchers manipulation of the viewer pursues. Siegel wants handle, he declares, with a political message. But the message wrong with aging time, and even prevails in their trail, a mark more or less distinct, it ends up streaky otherwise the final work and contaminate the entire tape, so that the political message becomes more firmly in an aesthetic message. The paranoia of McCarthyism and the Cold War is no longer there, but his ghost. And we all know that if something looks like a ghost is another ghost. That thing spectral orphan face, which is present in the celluloid of the film, is what ultimately overwhelms, and intoxicates the viewer. It is owned by him, and years then you can remember clearly how those pods had integument, and almost soapy quality that enveloped the bodies doubled. A ghost depleted and useless, the political message that we talked about, has brought to the viewer, in short, another ghost.