This '50s adaptation of the H. G. Wells novel transplants the action from Victorian-era Britain to a contemporary Los Angeles, doing away with the mechanical tripods in favour of hovering alien ships with heat-rays designed to evaporate the enemy. As a fine example of '50s-era science fiction, there's little to dislike here, as it's a film that set the template for many other alien invasion flicks to come: there's a chisel-jawed hero (singer Gene Barry), a pretty heroine, an indomitable foe and absolutely tons of destruction rendered in a loving fashion.
I can't help but feel that producer George Pal had a big influence on this film. From watching Pal's later movies as director, it's clear that he was blessed with two qualities: first a sense of imagination, which led him to make all manner of films with wondrous subject matters (such as ATLANTIS, THE LOST CONTINENT and my personal favourite, THE TIME MACHINE), and second a real command of special effects and an ability to integrate them into the storyline. The special effects in WAR OF THE WORLDS are wonderful and still hold up today, and the snake-like heads of those alien ships were still enough to provoke a shudder or two in this viewer.
Spielberg made the inevitable remake but that film – alternatively ponderous, sentimental and stupid – can't hold a torch to this well-remembered classic.
I can't help but feel that producer George Pal had a big influence on this film. From watching Pal's later movies as director, it's clear that he was blessed with two qualities: first a sense of imagination, which led him to make all manner of films with wondrous subject matters (such as ATLANTIS, THE LOST CONTINENT and my personal favourite, THE TIME MACHINE), and second a real command of special effects and an ability to integrate them into the storyline. The special effects in WAR OF THE WORLDS are wonderful and still hold up today, and the snake-like heads of those alien ships were still enough to provoke a shudder or two in this viewer.
Spielberg made the inevitable remake but that film – alternatively ponderous, sentimental and stupid – can't hold a torch to this well-remembered classic.