The bad news is that the 1956 scifi horror thriller "Invasion of the Body Snatchers" being a prominent topic in film study and political science courses precludes giving the Olive Signature division of Olive Films October 16, 2018 Blu-ray release of this classic due regard. The first good news is that the copious in-depth and insightful bonus features do show "Body" proper regard and give current students a good shot at boosting their grade at least a notch.
Audio commentary by "Body" stars Kevin McCarthy and Dana Wynter (and by Gizmo's birth dad Joe Dante) further enhances the Signature release of the film.
The second good news is that the recently beefed-up Olive Films section of Unreal TV 2.0 includes reviews of other cult classics that Signature has shown tremendous love. The first releases are the 1952 classic Western "High Noon" and the more campy 1954 Joan Crawford Western "Johnny Guitar." This collection including the lesbiancentric 1996 neo-noir film "Bound" demonstrates the range of Signature,
"Body" is based on the novel The Body Snatchers by Jack Finney. The aforementioned special features shows how this tale of the fruit of seeds from outer space replacing ordinary townfolks in a '50s Everytown U.S.A. speaks to (hilariously named) producer Walter Wanger. We additionally get the perspective of director Don Siegel.
As the oft-mentioned extras remind us, one aspect of "Body" that makes it notable is being the first in a long series of "pod people" films that still entertain movie goers and provide sitcom writers who are desperate for a Halloween episode script fodder for a dream-sequence. However, this does not prevent Siegel and his team from borrowing from "Citizen Kane" and many other classics.
Just as "Kane" opens with the death of the titular William Randolph Hearst pod person and goes on to portray the key events in the life of the clone, the first scenes in "Body" show a crazed and disheveled Dr. Miles J. Bennell (McCarthy) restrained in a hospital and ranting about the titular offensive. This leads to a psychiatrist agreeing to hear his story in order to calm him down.
"Body" then depicts an equally standard opening scene; we see a train pull into the station at Santa Mira, California. The protagonist (Bennell) disembarks and meets his nurse. The audience learns on the ride to the office both that Bennell has good-natured arrogance and that he is returning from a two-week trip to a medical conference. Bennell learns that chaos in the form of people flooding his office with claims of replicas replacing locals has erupted in his absence,
The mystery deepens when Bennell finds his office empty and all seeming quiet on this western town front. Things get more interesting when Becky Driscoll (Wynter), with whom Bennell has an "its complicated" past, shows up after an extended absence, This reunion leads to a joke about divorce that is shocking for the '50s but very funny in 2018.
The initial investigation by those "meddling kids" Bennell and Driscoll bears little fruit until they experience a major breakthrough. This phase of the investigation ultimately leads to hot pursuit of Bennell and Driscoll that includes era-apt propaganda in the form of coaxing the couple by telling them that they will be much happier if they no longer think or feel.
The bonus regarding this is that falling asleep creates a significant risk of a fate different then death, Seeing Bennell being particularly clever in evading his former friends and neighbors is another aspect of "Body" that distinguishes it from other '50s scifi fare.
The quality continues to the end; the opening scenes establish that Bennell does not lose his humanity. However, suspense remains whether "Abner" believes "Gladys" that "witches" are among us. The outcome demonstrates why "Body" has endured so long.
The final mention of the numerous short documentaries and related material in the Signature release is that the filmmmakers never divulge their intents regarding "Body" being right or left-wing propaganda. That ambiguity adds to the fun of the film and reminds us of a kinder and gentler (although equally paranoid) era,