PIC of the Week – The War of the Worlds
Article series by Ray Schillaci
Leave it too Criterion to release a beautiful restoration of the 1953 classic science fiction film, The War of the Worlds. Yes, the effects, both sound and visual, are dated along with some of the acting, the presentation is in its original format meaning it will not fill up your wide screen TV, and the surround sound is minimal, but this very special film holds a place in many a heart. It scared the hell out of me when I was a kid along with so many others, and the film is filled with indelible images that have inspired countless filmmakers.
In 2005, Steven Spielberg reimagined the H.G. Wells story with state-of-the-art effects, sound, and mega-star Tom Cruise in the lead role, but delivering no where near as deep or impactful a story. One can see the influence of the George Pal film in Spielberg’s Close Encounters of the Third Kind. The design and movement of Spielberg’s E.T. was also inspired by the 1953 film, and Tim Burton had fun lifting ideas from the original film to enhance his off-beat version of Mars Attacks!.
George Pal’s The War of the Worlds captures a bygone era that was at times more innocent, but also filled with dread and uncertainty thanks to the creation of the atom bomb, the fear mongering of McCarthyism, and coming out during the early years of the cold war. The shadow of all three looms over this rendition of the story that was originally written in 1897 by science fiction writer H.G. Wells, whose tales of tomorrow would eventually be turned into classic films The Island of Lost Souls (’32), The Invisible Man (’33), Things to Come (’36), and The Time Machine (’60) to name just a few.
There are significant differences between the original Wells story and the George Pal film. Perhaps the largest of which is the religious tone the film takes on and its portrayal of clergymen, one of whom becomes a martyr in one particularly memorable scene. Wells’ story is also far more gruesome with the martians actually feeding on humans. The film and novel also differ in settings and characters with the novels set in London, England and the lead character being a writer rather than a scientist in Southern California.
But, none of this matters when it comes down to the power of Barré Lyndon’s screenplay that is filled with chilling suspense. Cinephiles should note that Lyndon was also the man that penned Cecil B. DeMille’s The Greatest Show on Earth. Coming from a special effects background, director Byron Haskin delivers light humor, drama and spectacle effortlessly. In many ways, the film reminds one of a Cecil B. DeMille production, and an interesting bit of film history is that the famed producer/director owned the rights to the Wells story for two decades trying to get it off the ground.
The War of the Worlds opens with newsreel footage and a narration by Sir Cedric Hardwicke that sets up the state of our world in the ’50s. We are then transported to the world that is observing us as theirs is dying off. We are privy to their options for planets to travel to, but none equals the lure of Earth. With that, we’re taken to a quaint town in California, Linda Rosa, where festivities are interrupted by the crashing of a meteorite, or that’s what many believe it is.
That cylindrical-like rock eventually becomes the beginning of the near end, and rather than fighting each other, a new enemy has presented itself to mankind. Producer George Pal, who excelled in fantasy over the years (The Time Machine, Atlantis: The Lost Continent, The 7 Faces of Dr. Lao) has produced a film that not only captures the wide-eyed fantasy and spectacle of it all, he also manages to make it a personal journey as well with his two leads Gene Barry as Dr. Clayton Forrester and Ann Robinson as Sylvia Van Buren, USC library science instructor. Neither actor was a huge draw at the time the film was done which made the story all the more riveting since we had no idea who would survive the onslaught, especially after one very likable player is shockingly killed off.
Somehow, between Lyndon’s adept screenplay and the team of Haskin and Pal, the film is perfectly balanced between an extravaganza of special effects, carefully crafted crowd scenes, and the peril our two leads are put through, all the while carrying a heavy dose of hope and a religious sensibility. But, none of it ever appears overbearing, as was the case when Spielberg refashioned Close Encounters with more spectacle and cut the heart out of Roy Neary’s frustrating and wondrous odyssey. In my opinion, Spielberg was better off sticking more with his inspiration of Pal and Haskin rather than emulating DeMille.
Criterion delivers a blu-ray that is sourced from a 4K restoration of the original three-strip Technicolor negative which is truly breathtaking. The images pop out like never before. Gone are any scratches or blemishes from all other versions. Colors are sharp and the detail is practically revelatory. The horror of this science fiction tale is enhanced like never before with colors of the alien beings, the desolate streets, and the aftermath of destruction. Other than the date the film is set in, this movie looks practically brand new. This is definitely a reference quality print that one could show off as to how an older film should look.
Criterion also supplies the option of either an LPCM monaural soundtrack for purists or a 5.1 Master Audio. This new track offers the aural effect so many have been seeking over the years that never existed with this film. The depth of the sound is far more enhanced with the scenes of decimation, and at the same time, it provides a unique nuance to the quieter scenes as well. Dialogue is free of any distortion even during the pandemonium. Crank your system up as the invasion nears and you will feel the war of these worlds.
Once again, Criterion does not disappoint with its supplements. All other companies can learn a valuable lesson as to how it should be done. Aside from a new 4K restoration, DTS-HD 5.1 Master Audio created by sound designer Ben Burtt, and an invaluable audio commentary from 2005 with filmmaker Joe Dante, film historian Bob Burns and author Bill Warren, we also receive these gems…
• Movie Archaeologists, a new program on the visual and sound effects in the film featuring Burtt and film historian Craig Barron
• From the Archive, a new program about the film’s restoration featuring Barron, Burtt, and Paramount Pictures archivist Andrea Kalas
• Audio interview with producer George Pal from 1970
• The Sky Is Falling, a 2005 documentary about the making of the film
• The Mercury Theatre on the Air radio adaptation of The War of the Worlds from 1938, directed and narrated by Orson Welles
• Radio program from 1940 featuring a discussion between Welles and H. G. Wells, author of the 1897 novel The War of the Worlds
• Trailer
• English subtitles for the deaf and hard of hearing
• PLUS: An essay by film critic J. Hoberman
Aside from all that, we also get a real cool new cover design by Patrick Leger. Attention cinephiles, this is definitely one to add to your collection. For those who are not into purchasing, there may be another choice of viewing. The TCM streaming channel often displays many Criterion titles in their best light. Keep your eyes out for it.
Lowest Price – $19.99 (limited time during Criterion 1/2 off sale) Barnes & Noble
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