For me and fans of classic science fiction, 2005 will be remembered as the year three filmmakers of varying talents -- with access to various levels of resources -- all tried and failed to make updated versions of this great film from 1953.
Instead of comparing and contrasting the three new films versus the original, I would prefer to mention some of the things that make this film work.
First of all, the scope of this story is greater, and even though it takes place in the 1950s, there is a lot more in this film for the viewer to identify with. The martian threat is addressed from military, religious, and scientific points-of-view. The individual courses of action that these three facets choose rings true even to this day. The military and government choose to use force, religion chooses to try peace, and science looks beyond the technical factors and instead attempt to focus on biological solutions. Everyone else tries desperately to survive.
The art direction by Al Nozaki is one of the things that make this film so memorable. As the main designer for the fearsome war machines, Nozaki incorporates the popular streamlined art deco styles of the time to create unique weapons that are frankly more impressive by gliding than stumbling around on three spindly legs.
The visual effects are also impressive enough. Even though suspension wires can be seen in a few shots of the machines, and there's one shot in particular when the reflective hull of a machine shows some spill from the blue screen, the composites combining live action with models work. Some of the imagination involving the technology of the machines, such as the skeleton beam and protective blisters, are effectively brought to life on screen. Of course, producer George Pal was the driving force to making this film. He was not the sort of producer who just signed checks and oversaw budgets. His background was animation and grew to help pioneer visual effects. That kind of technical competence by the producer is not the sort of thing one sees in modern Hollywood films. Most producers are businessmen, not artists. What can one say? It makes a difference.
The little touches of Americana that are included add more reality to the devastating consequences that lie ahead for humanity's way of life. Things like square dancing, gathering by the radio to listen to the news, fishing, cards (or cheating at them), etc. It helps create a wonderful story. The acting doesn't need to be Oscar-caliber. Real people in real life don't go around squinting their eyes in the sunlight making well-rehearsed inspirational speeches. If there is the feeling that some of the acting is a bit two-dimensional it wears well with the characters being portrayed. It's nice to see such a mix of different characters instead of a bunch of clones. I also like the opening Paramount logo, which incorporates the news theme (as used to be done in film theaters of the time...news clips before the film was shown).
The end of the film is probably well-known. The way it is handled is wonderfully done as things look as bad as they can be, with at least two people who have grown to love each other in the crisis find each other in time to die together. But, of course, the film doesn't turn out that way.
Bottom line: this film is a timeless classic. The other films will be forgotten within a few years, lost in a sea of other shallow re-makes.
Instead of comparing and contrasting the three new films versus the original, I would prefer to mention some of the things that make this film work.
First of all, the scope of this story is greater, and even though it takes place in the 1950s, there is a lot more in this film for the viewer to identify with. The martian threat is addressed from military, religious, and scientific points-of-view. The individual courses of action that these three facets choose rings true even to this day. The military and government choose to use force, religion chooses to try peace, and science looks beyond the technical factors and instead attempt to focus on biological solutions. Everyone else tries desperately to survive.
The art direction by Al Nozaki is one of the things that make this film so memorable. As the main designer for the fearsome war machines, Nozaki incorporates the popular streamlined art deco styles of the time to create unique weapons that are frankly more impressive by gliding than stumbling around on three spindly legs.
The visual effects are also impressive enough. Even though suspension wires can be seen in a few shots of the machines, and there's one shot in particular when the reflective hull of a machine shows some spill from the blue screen, the composites combining live action with models work. Some of the imagination involving the technology of the machines, such as the skeleton beam and protective blisters, are effectively brought to life on screen. Of course, producer George Pal was the driving force to making this film. He was not the sort of producer who just signed checks and oversaw budgets. His background was animation and grew to help pioneer visual effects. That kind of technical competence by the producer is not the sort of thing one sees in modern Hollywood films. Most producers are businessmen, not artists. What can one say? It makes a difference.
The little touches of Americana that are included add more reality to the devastating consequences that lie ahead for humanity's way of life. Things like square dancing, gathering by the radio to listen to the news, fishing, cards (or cheating at them), etc. It helps create a wonderful story. The acting doesn't need to be Oscar-caliber. Real people in real life don't go around squinting their eyes in the sunlight making well-rehearsed inspirational speeches. If there is the feeling that some of the acting is a bit two-dimensional it wears well with the characters being portrayed. It's nice to see such a mix of different characters instead of a bunch of clones. I also like the opening Paramount logo, which incorporates the news theme (as used to be done in film theaters of the time...news clips before the film was shown).
The end of the film is probably well-known. The way it is handled is wonderfully done as things look as bad as they can be, with at least two people who have grown to love each other in the crisis find each other in time to die together. But, of course, the film doesn't turn out that way.
Bottom line: this film is a timeless classic. The other films will be forgotten within a few years, lost in a sea of other shallow re-makes.