One of characteristics of the Val Lewton horror films made at RKO in the 1940s was that they mostly shunned the traditional horror characters and players, in favour of contemporary stories and straight actors. The Body Snatchers bucks that trend, being the only Lewton horror to be adapted from pre-20th century literature, and a cast boasting classic horror stars Boris Karloff and Bela Lugosi.
The director here is Robert Wise, in one of his earliest pictures. Wise, who went on to be the most successful of the young directors to graduate from the Lewton unit, was previously an editor. While editors-turned-directors may not have had much experience on the set, they will have spent a great deal of time studying other people's footage and this generally shows in their style. In particular, the young Wise can be noted for his use of space, creating atmosphere by showing off the emptiness of Henry Daniell's house, contrasted with the tight squalor of Karloff's lodgings. As is typical of the Lewton horrors darkness is used both to add ambiguity to the horror scenes and to hide the cheapness of the set, although unfortunately cinematographer Robert De Grasse is not as adept at this as Nicholas Musuraca, who did the job on Cat People.
The casting in The Body Snatcher seems to be aimed at bringing some tried-and-trusted creepiness to proceedings, as well as of course pulling in the crowds. Karloff does what is expected of him, playing the cabman Grey like a Dickensian villain. Although his hamming is kind of fun, his best moment is when the fall he took for MacFarlane is brought up, and he gets to do some real acting. As to the others perennial villain Henry Daniell is merely average here. Bela Lugosi just looks ill, and sadly adds little. Lead man Russell Wade (no, me neither) is simply bad, and is continually upstaged by supporting players, child star Sharyn Moffett, the coach horses, bits of furniture and so on. Mind you, the screenplay is not exactly brimming with great dialogue, so it's no wonder the performances are a little lacklustre.
One of the reasons most of the Val Lewton horrors worked is because they tweaked familiar settings and brought horror situations a little closer to home. The idea of The Body Snatchers seems to have been to go instead for grisly Gothic atmosphere and yet still retain those other factors which made pictures like Cat People so effective, such as only hinting at a supernatural force rather than making it explicit. The trouble is, too much has been lost and not enough gained. With the exception of the final scene, which is classic Lewton, there is not enough of that "suggestive horror". We lack the impact of the domestic settings of earlier Lewton horrors, and while Gothic horror can be very effective, The Body Snatchers is simply not rich enough it doesn't revel in the sinister mood that is needed to make Gothic horror work.
This is strange because Robert Wise had previously handled the standout atmospheric scenes in Curse of the Cat People (such as the ones at the old lady's house). He would also much later direct The Haunting, which is like a masterclass in the use of space to induce fear. The Body Snatchers is one of his weaker efforts. Val Lewton would return once more to the period horror genre with Bedlam, which again stars Karloff, and this is a far more effective picture, partly because the macabre subject matter makes the Gothic setting work, and also because it's satisfying to see Karloff in a relatively straight villainous role. The Body Snatchers was clearly made with good intentions and does have its supporters among Karloff fans, but overall it's a mediocrity.
The director here is Robert Wise, in one of his earliest pictures. Wise, who went on to be the most successful of the young directors to graduate from the Lewton unit, was previously an editor. While editors-turned-directors may not have had much experience on the set, they will have spent a great deal of time studying other people's footage and this generally shows in their style. In particular, the young Wise can be noted for his use of space, creating atmosphere by showing off the emptiness of Henry Daniell's house, contrasted with the tight squalor of Karloff's lodgings. As is typical of the Lewton horrors darkness is used both to add ambiguity to the horror scenes and to hide the cheapness of the set, although unfortunately cinematographer Robert De Grasse is not as adept at this as Nicholas Musuraca, who did the job on Cat People.
The casting in The Body Snatcher seems to be aimed at bringing some tried-and-trusted creepiness to proceedings, as well as of course pulling in the crowds. Karloff does what is expected of him, playing the cabman Grey like a Dickensian villain. Although his hamming is kind of fun, his best moment is when the fall he took for MacFarlane is brought up, and he gets to do some real acting. As to the others perennial villain Henry Daniell is merely average here. Bela Lugosi just looks ill, and sadly adds little. Lead man Russell Wade (no, me neither) is simply bad, and is continually upstaged by supporting players, child star Sharyn Moffett, the coach horses, bits of furniture and so on. Mind you, the screenplay is not exactly brimming with great dialogue, so it's no wonder the performances are a little lacklustre.
One of the reasons most of the Val Lewton horrors worked is because they tweaked familiar settings and brought horror situations a little closer to home. The idea of The Body Snatchers seems to have been to go instead for grisly Gothic atmosphere and yet still retain those other factors which made pictures like Cat People so effective, such as only hinting at a supernatural force rather than making it explicit. The trouble is, too much has been lost and not enough gained. With the exception of the final scene, which is classic Lewton, there is not enough of that "suggestive horror". We lack the impact of the domestic settings of earlier Lewton horrors, and while Gothic horror can be very effective, The Body Snatchers is simply not rich enough it doesn't revel in the sinister mood that is needed to make Gothic horror work.
This is strange because Robert Wise had previously handled the standout atmospheric scenes in Curse of the Cat People (such as the ones at the old lady's house). He would also much later direct The Haunting, which is like a masterclass in the use of space to induce fear. The Body Snatchers is one of his weaker efforts. Val Lewton would return once more to the period horror genre with Bedlam, which again stars Karloff, and this is a far more effective picture, partly because the macabre subject matter makes the Gothic setting work, and also because it's satisfying to see Karloff in a relatively straight villainous role. The Body Snatchers was clearly made with good intentions and does have its supporters among Karloff fans, but overall it's a mediocrity.