Invasion of the Body Snatchers (1956) Narrative Analysis

"How does the manipulation of narrative structure and narrative devices allow filmmakers to comment upon social issues at the time of production?"

The opening of Invasion of the Body Snatchers establishes - to the audience - the protagonist, Miles Bennell. Through Miles, the audience witnesses the activities of the growing ‘pod-people’ – our antagonists, shown only through the protagonist’s view point and established sparingly in the film as the ‘threat’ at the centre of its conflict. This limited or restricted narrative, common in many different films of the genre and beyond, is manipulated to suggest that Miles is actually irrational in his fears and what we’re seeing isn’t actually happening.

This point is further expanded in the last scene, as Miles desperately attempts to warn others of the pending invasion. Our protagonist is now the minority in Santa Mira; with his fears easily explained away by the pod-people to outsiders. The protagonists and antagonists have had their roles reversed, so how can Miles (now raving, perhaps having suffered a breakdown) be coupled with the unassuming and plain people of Santa Mira? He occupies many of the conventions of an antagonist in this scene. To relate this reversal to a social context, it draws comparison with the paranoia and subsequent conformism of 1950s America in the face of McCarthyism at the time of production on this film. The scene in question suggests that the non-conformist in Miles, unwilling to shed his individuality for a cause he doesn’t believe in, will be reduced to a small voice in a crowd of thousands. The hero’s love interest is one of them now. This was the reality for many people, especially in the Hollywood film industry at the time; he will be silenced by the deafening voice of the new majority, including people they once held dear.  

The narrative structure of Invasion of the Body Snatchers is another point of manipulation, opting out of any sort of clear resolution. Returning to the present time, Miles’ suspicions and mention of seed pods coming out of Santa Mira ignites the police officer listening to alert the proper authorities. They rush out and leave Miles, cowering against a wall as the film ends. This ending lacks the finality and resolution of the mainstream Hollywood science fiction film, instead leaving the audience with only the thought that ‘perhaps’ the invasion will be halted. Will the authorities even believe the police officer? Will the invasion be stopped? Who will win - humanity or the pods? These questions remain unanswered in this adaptation. It’s suggested that this conflict will be an on-going one, very similar to the continuing Cold War and anti-communist agenda. The ending creates a connection between the events of the film and real-world America, full of paranoia and conformity; leaving the audience unfulfilled and uneasy, with many questions after leaving the theatre.

Invasion of the Body Snatchers is filled with binary oppositions, each relating vividly to the time of production on the film. The opposition of humanity and love versus conformism and a lack of emotion is one of the biggest, suggested by the scenes in the film showing a previously trustworthy and dear character to Miles changed by the pod-people. The social context of these scenes can be associated with the obedient filmmakers and writers working in Hollywood in the 1950s, especially since the character Jack Belicec is a working writer. They gave in to Senator Joseph McCarthy and outed various industry people with anti-American sentiments in their films. Because of their views, even the untrue ones, loved ones and family were willing to work with McCarthy in ousting communism from the United States.  

By manipulating the narrative structure and devices in the film, the filmmakers have attempted to add a subtext to the final film reflective of the political climate of the 1950s and paranoia induced film industry.