War Of The Worlds 1953 Full Movie Download UPDATED

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War Of The Worlds 1953 Full Movie Download

American sci-fi film

The State of war of the Worlds
The War of the Worlds (1953 film poster).jpg

Theatrical release poster
Directed past Byron Haskin
Screenplay by Barré Lyndon
Based on The War of the Worlds
1898 novel
by H. G. Wells
Produced by George Pal
Starring Gene Barry
Ann Robinson
Cinematography George Barnes
Edited by Everett Douglas
Music past Leith Stevens

Production
company

Paramount Pictures
Distributed past Paramount Pictures

Release engagement
  • Baronial xiii, 1953 (1953-08-13) (New York)[1]

Running time

 85 minutes[ii]
Country United states
Linguistic communication English
Budget $2 one thousand thousand
Box office $2 million (US rentals) [3]

The War of the Worlds (also known in promotional fabric as H. G. Wells' The War of the Worlds ) is a 1953 American science fiction film from Paramount Pictures, produced by George Pal, directed past Byron Haskin, and starring Cistron Barry and Ann Robinson.

The pic is an adaptation of the 1898 novel of the same name by H. G. Wells, the first of 5 feature moving-picture show adaptations. Information technology is a retelling of the 1898 novel, changing the setting from Victorian era-England to 1953 southern California. Earth is suddenly and unexpectedly invaded by Martians, and American scientist Clayton Forrester searches for whatever weakness that can stop them.

The War of the Worlds won an Academy Honour for Best Visual Furnishings and went on to influence other science fiction films. In 2011, it was selected for the United States' National Pic Registry in the Library of Congress, being deemed "culturally, historically, or aesthetically significant".

Plot [edit]

In southern California, Dr. Clayton Forrester, a well-known atomic scientist, is fishing with colleagues when a big object crashes near the town of Linda Rosa. At the touch on site, he meets USC library science instructor Sylvia Van Buren and her uncle, Pastor Matthew Collins. Later on that night, a round hatch on the object unscrews and opens. As the three men continuing guard at the site attempt to make contact while waving a white flag, a Martian light amplification by stimulated emission of radiation gun obliterates them. The United states Marine Corps subsequently surrounds the crash site, as reports pour in of identical cylinders landing all over the world and destroying cities. Three Martian war machines emerge from the cylinder. Pastor Collins attempts to make contact with the aliens, just he is disintegrated. The Marines open fire, but are unable to penetrate the Martians' force field. The aliens counterattack with their heat-ray and skeleton-beam weapons, sending the Marines into full retreat.

Attempting to escape in a military spotter aeroplane, Forrester and Sylvia crash land and hide in an abased farmhouse. They brainstorm to develop closer feelings for each other just before the house is buried past yet another crashing cylinder. A long cable with an electronic eye explores the firm and eventually spots them, only Forrester cuts it off using an axe. Afterward, when a Martian enters the business firm and approaches Sylvia, Forrester injures it with the axe and collects its blood on a material. They escape only earlier the farmhouse is obliterated. Forrester takes the electronic eye and blood sample to his team at Pacific Tech in the hope of finding a way to defeat the invaders. The scientists notice how the Martian eye works and likewise note that alien claret is extremely bloodless.

Many of the major globe capitals fall silent, and global Martian victory is estimated to be only six days abroad. The United States government makes the determination to drop an diminutive bomb on the original grouping of Martian war machines. The diminutive blast however is totally ineffective. As the aliens advance on Los Angeles, the urban center is evacuated. Then the Pacific Tech trucks are stopped by a mob aptitude on escape, and all the scientific equipment is destroyed. Forrester, Sylvia, and the other scientists become separated in the ensuing chaos.

Forrester searches for Sylvia in the deserted city. Based on a story she had told him earlier, he guesses that she would have refuge in a church building. After searching through several, he finds Sylvia among many praying survivors. Just as the aliens set on well-nigh the church, their machines suddenly lose power and crash, one after another. Forrester sees one Martian expire while trying to leave its machine. The narrator observes that while the Martians were impervious to humanity'south weapons, they had "no resistance to the bacteria in our atmosphere to which we take long since become immune. After all that men could practise had failed, they were destroyed and humanity was saved by the littlest things, which God, in His wisdom, had put upon this Earth".

Cast [edit]

  • Factor Barry as Dr. Clayton Forrester
  • Ann Robinson as Sylvia van Buren
  • Les Tremayne as Major General Mann
  • Bob Cornthwaite as Dr. Pryor
  • Sandro Giglio as Dr. Bilderbeck
  • Lewis Martin as Pastor Dr. Matthew Collins
  • Housely Stevenson Jr. as General Mann's aide
  • Paul Frees every bit Radio reporter / Narrator (voice)
  • Neb Phipps as Wash Perry
  • Vernon Rich as Colonel Ralph Heffner
  • Henry Brandon every bit Cop at crash
  • Jack Kruschen equally Salvatore
  • Sir Cedric Hardwicke as Commentator (voice)

Product [edit]

The War of the Worlds opens with a blackness-and-white prologue featuring newsreel state of war footage and a voice-over by Paul Frees that describes the subversive technological advancements of Earthly warfare from World War I through World War Two. The image and so nail cuts to brilliant Technicolor and the dramatic opening championship card and credits.

Theatrical re-release poster

The story begins with a series of color matte paintings by astronomical artist Chesley Bonestell that depict the planets of our Solar System (all except Venus most which piffling was known at the time). A narrator (Sir Cedric Hardwicke) offers a tour of the hostile surround of each globe, somewhen explaining to the audience why the Martians find our lush, green, and blue Earth the only world worthy of their scrutiny and coming invasion.[4] [5]

This is the first of two adaptations of Wells' classic science fiction filmed past George Pal; it is considered to be one of the corking scientific discipline fiction films of the 1950s.[half dozen]

Pal originally planned for the last third of the flick to be shot in the new 3D procedure to visually enhance the Martians' attack on Los Angeles. The programme was dropped prior to the actual production of the moving-picture show. World State of war II stock footage was used to produce a montage of destruction to evidence the worldwide invasion, with armies of all nations joining together to fight the invaders.[5]

Dr. Forrester's and the other scientists' Pacific Tech (Pacific Institute of Science and Technology, actually depicted by buildings on the Paramount studio lot) has since been referenced in other films and television set episodes whenever directors/writers/producers needed to draw a science-oriented California university without using a specific institution's name.[4]

The city of Corona, California, was used as the shooting location of the fictitious town of Linda Rosa. St. Brendan's Catholic Church, located at 310 South Van Ness Avenue in Los Angeles, was the setting for the climactic scene where a big group of desperate people assemble to pray. The rolling hills and main thoroughfares of El Sereno, Los Angeles, were also used in the movie.[4]

On the commentary rails of the 2005 Special Collector's DVD Edition of State of war of the Worlds, Robinson and Barry point out that the cartoon character Woody Woodpecker is seen in a treetop, center screen, when the offset large Martian meteorite-ship crashes through the sky near the beginning of the moving-picture show. Woody'south creator Walter Lantz and George Pal were shut friends. Pal tried to always include the Woody character out of friendship and good luck in his productions. Joe Adamson wrote years subsequently: "Walter had been close friends with Pal ever since Pal had left Europe in advance of the war and arrived in Hollywood".[7]

The epitome Northrop YB-49 Flying Wing is prominently featured in the atomic bombing sequence. Pal and Haskin incorporated Northrop color footage of a YB-49 test flight, originally used in Paramount's Popular Science theatrical shorts, to show the Flight Wing'southward takeoff and flop run.[8]

Differences from the Wells novel [edit]

As Caroline Blake has written,[nine] the film is very unlike from the original novel in its attitude toward religion, as reflected especially in the depiction of clergymen as characters. "The staunchly secularist Wells depicted a cowardly and thoroughly uninspiring Curate, whom the narrator regards with disgust, with which the reader is invited to concur. In the movie, there is instead the sympathetic and heroic Pastor Collins who dies a martyr's death. And and so the film's last scene in the church building, strongly emphasizing the Divine nature of Humanity'due south deliverance, has no parallel in the original volume."

Pal's adaptation has many other differences from H. K. Wells' novel. The closest resemblance is probably that of the antagonists. The flick'south aliens are indeed Martians and invade Earth for the same reasons every bit those stated in the novel (the state of Mars suggests that it is condign unable to support life, leading to the Martians' decision to try to make Earth their new domicile). They land in the same way, by crashing to the world. However, the novel'southward spacecraft are large cylinder-shaped projectiles fired from the Martian surface from some kind of cannon, instead of the moving-picture show's meteorite-spaceships; but the Martians emerge from their arts and crafts in the same way, by unscrewing a large, circular hatch. They appear to take no use for humans in the film. In the novel, nonetheless, the invaders are observed "feeding" on humans by fatally transfusing their captives' claret supply directly into Martian bodies by using pipettes; in that location is likewise afterward speculation about the Martians eventually using trained human slaves to hunt downward all remaining survivors later they have conquered Globe. In the film, the Martians do not bring their fast-growing crimson weed with them, but they are defeated past World microorganisms, as in the novel. Yet, they dice from the effects of the microorganisms within three days of the landing of the first meteorite-ship; in the novel, the Martians die within almost three weeks of their invasion of England.[5]

The Martians themselves bear no physical resemblance to the novel's Martians, who are described as bear-sized, roundish creatures with dark-brown bodies, "merely heads", with quivering beak-like, V-shaped mouths dripping saliva; they have xvi whip-like tentacles in two groupings of viii arranged on each side of their mouths and 2 large "luminous, disk-like eyes". Due to budget constraints, their film counterparts are short, cherry-red-brown creatures with two long, sparse arms with three long, thin fingers with suction-cup tips. The Martians' caput, if information technology can be called that, is a broad "face" at the top-forepart of its wide-shouldered upper torso, the but apparent characteristic of which is a unmarried large center with iii distinctly colored lenses (red, blue, and dark-green). The Martians' lower extremities, whatsoever they may be, are never shown. (Some speculative designs for the creature suggest the idea of three thin legs resembling their fingers, while others show them as bipeds with short, stubby legs with 3-toed anxiety.)[5]

The film'due south Martian war machines exercise really have more than of a resemblance than they may seem at commencement glance. The novel's state of war machines are 10-story-tall tripods and carry the heat-ray projector on an articulated arm connected to the front of the machine's main body. The film's war machines are shaped similar manta rays, with a bulbous, elongated green window at the forepart, through which the Martians observe their surroundings. On superlative of the machine is the cobra-like caput oestrus-ray attached to a long, narrow, goose-cervix extension. They tin exist mistaken for flying machines, but Forrester states that they are lifted by "invisible legs"; in one scene when the commencement armed forces emerges, the audience tin can run into faint traces of three energy legs beneath that leave three sparking traces where they impact the burning footing. Therefore, technically speaking, the film's state of war machines are indeed tripods, though they are never given that designation. Whereas the novel'due south machines had no protection against the British army and navy cannon fire, the movie'due south war machines take a forcefulness field surrounding them; this invisible shield is described past Forrester as a protective blister.[5]

The Martian weaponry is also partially unchanged. The heat-ray has the very same issue every bit that of the novel. Nonetheless, the novel's rut-ray mechanism is briefly described as merely a rounded hump when first seen in silhouette rising above the landing crater's rim; it fires an invisible energy beam in a wide arc while still in the pit fabricated past the first Martian cylinder afterwards it crash-lands. The film's heat-ray projector when starting time seen is shaped like a cobra head with has a single, red pulsing "eye", which likely acts as a targeting telescope for the Martians inside their manta ray-like military. The novel describes another weapon, the "black smoke" used to kill all life; the war machines fire canisters containing a black smoke-powder through a bazooka-like tube accompaniment. When dispersed, this black powder is lethal to all life forms who exhale it. This weapon is replaced in the moving-picture show by a Martian "skeleton beam" of green pulsing energy bursts fired from the wingtips of the manta-ray machines; these bursts break apart the sub-atomic bonds that concord matter together on anything they bear upon. These beams are used off-screen to obliterate several French cities.[5]

The plot of the motion picture is very dissimilar from the novel, which tells the story of a 19th-century writer (with additional narration in later chapters by his medical-educatee younger brother), who journeys through Victorian London and its southwestern suburbs while the Martians attack, eventually being reunited with his married woman; the flick'southward protagonist is a California scientist who falls in love with a former college student after the Martian invasion begins. However, certain points of the film'due south plot are similar to the novel, from the crash-landing of the Martian meteorite-ships to their eventual defeat past Globe's microorganisms. Forrester also experiences like events similar the book'south narrator: an ordeal in a destroyed house, observing an actual Martian upwards close, and eventually reuniting with his honey interest at the end of the story. The motion picture is given more of a Common cold War theme with its apply of the atomic bomb against the invading enemy and the mass destruction that such a global war would inflict on mankind.[five]

Special effects [edit]

An effort was made to avoid the stereotypical flying saucer wait of UFOs: The Martian war machines, which were designed past Albert Nozaki, were instead fabricated to exist sinister-looking machines shaped similar manta rays floating above the footing. Three Martian armed services props were made out of copper for the film. The aforementioned blueprints were used a decade later (sans neck and cobra caput) to construct the alien spacecraft used in the film Robinson Crusoe on Mars, besides directed by Byron Haskin; that movie prop was afterwards reported melted down as part of a scrap copper recycling drive.[v]

Each Martian motorcar was topped with an articulated metal cervix/arm, culminating in the cobra head heat ray projector, housing a single electronic eye that operated both like a periscope and as a weapon. The electronic eye as well housed the Martian heat ray, which pulsed and fired blood-red sparking beams, all accompanied by thrumming and a high-pitched clattering shriek when the ray was used. The distinctive audio event of the weapon was created by an orchestra performing a written score, mainly through the use of violins and cellos. For many years, it was utilized equally a standard ray-gun sound on children'south television shows and the scientific discipline-fiction anthology series The Outer Limits, particularly in the episode "The Children of Spider County".[4]

The machines also fired a pulsing dark-green ray (referred to in dialog as "a skeleton beam") from their wingtips, generating a distinctive sound, as well disintegrating their human targets; this 2nd weapon is a replacement for the chemical weapon black smoke described in Wells' novel. This weapon's sound effect (created by striking a high tension cable with a hammer) was reused in Star Expedition: The Original Series, accompanying the launch of photon torpedoes. The sound used when the Martian ships begin to motility was as well recycled by the original Star Trek as the audio of an overloading hand phaser. Another prominent audio effect was a chattering, synthesized echo, perhaps representing some kind of Martian sonar; it can be described every bit sounding like hissing electronic rattlesnakes.[4]

When the large Marine force opens fire on the Martians with everything in its heavy arsenal, each Martian machine is protected past an bulletproof force field that resembles, when briefly visible between explosions, the articulate jar placed over a drapery clock, or a bong jar; cylindrical and with a hemispherical top. This outcome was achieved past the use of simple matte paintings on articulate glass, which were and then photographed and combined with other effects, then optically printed together during postal service-production.[5]

The disintegration event took 144 divide matte paintings to create. The sound effects of the war machines' estrus rays firing were created by mixing the sound of three electrical guitars being recorded backwards. The Martian'south scream in the farmhouse ruins was created by mixing the audio of a microphone scraping along dry ice existence combined with a woman'south recorded scream and and then contrary-played for the sound outcome mix.[iv]

There were many bug trying to create the walking tripods of Wells' novel. It was eventually decided to make the Martian machines appear to float in the air on three invisible legs. To evidence their beingness, subtle special effects downward lights were to be added directly under the moving war machines; yet, in the final motion picture, these simply appear when 1 of the first machines can be seen rise from the Martian'due south landing site. It proved too difficult and dangerous to mark out the invisible legs when fume and other effects had to be seen beneath the machines, and the effect used to create them likewise created a major fire hazard. In all of the subsequent scenes, however, the three invisible leg beams create small, sparking fires where they touch the ground.[4]

Quality of special effects [edit]

Despite the many accolades awarded to the film, for 50 years, showtime in the belatedly 1960s when The War of the Worlds 3-strip Technicolor prints were replaced past the easier-to-utilize and less expensive Eastman Colour stock, the quality of the moving picture's special furnishings suffered dramatically, resulting in a degradation of lighting, timing, and epitome resolution, causing the originally invisible wires suspending the Martian war machines to become increasingly more visible with each succeeding advance in film and video formats, leading many, including respected critics, to mistakenly believe the effects were originally of low quality. They were non until those inferior, after releases began appearing. [10] [xi] [12] [13] [14] [xv] [xvi] [17] [18] [19]

Reception [edit]

Release [edit]

The War of the Worlds had its official Hollywood premiere on Feb 20, 1953, although information technology did not go into general theatrical release until the autumn of that year.[five] The film was both a disquisitional and box-office success. Information technology accrued $2,000,000 in distributors' domestic (U.S. and Canada) rentals, making it the year's biggest science fiction moving-picture show hit.[20] [Note 1]

Critical reaction [edit]

In The New York Times, A. H. Weiler'due south review of The War of the Worlds commented: "[The motion picture is] an imaginatively conceived, professionally turned adventure, which makes excellent use of Technicolor, special effects by a crew of experts, and impressively fatigued backgrounds ... Manager Byron Haskin, working from a tight script past Barré Lyndon, has made this excursion suspenseful, fast and, on occasion, properly chilling".[21] "Brog" in Variety felt, "[It is] a socko science-fiction feature, as fearsome every bit a film equally was the Orson Welles 1938 radio estimation ... what starring honors there are go strictly to the special furnishings, which create an atmosphere of soul-chilling apprehension so effectively [that] audiences will really have alarm at the danger posed in the motion picture. It can't be recommended for the weak-hearted, just to the many who delight in an occasional good scare, it's socko entertainment of hackle-raising quality".[22] [23] The Monthly Film Bulletin of the United kingdom called it "the best of the postwar American science-fiction films; the Martian machines have a quality of real terror, their sinister apparitions, prowlings and pulverisings are spectacularly well washed, and the scenes of panic and devastation are staged with real flair".[24] Richard L. Coe of The Washington Mail service called information technology "to put it gently, terrific", and "for my money, the King Kong of its day".[25]

The War of the Worlds won an Academy Award for Special Effects (information technology was the sole nominee that twelvemonth). Everett Douglas was nominated for Film Editing, while the Paramount Studio Sound Department and Loren L. Ryder were nominated for Sound Recording.[26]

The War of the Worlds nonetheless receives high acclaim from some critics: At the moving-picture show review aggregator website Rotten Tomatoes, it has an 89% rating based on 35 critics; the consensus states: "Though it's dated in spots, The War of the Worlds retains an unnerving power, updating H. Thou. Wells' classic sci-fi tale to the Cold State of war era and featuring some of the all-time special furnishings of any 1950s moving picture".[27]

4K restoration [edit]

In 2018, a new, fully restored 4K ultra high-resolution Dolby Vision transfer of the picture show from the original three-strip Technicolor negatives became available for download on iTunes.[28] In July 2020, the film was reissued on Blu-ray and DVD past The Criterion Collection in the United States using the same 4K remaster & restoration.[29] [30]

Legacy [edit]

The War of the Worlds was accounted culturally, historically, or aesthetically pregnant in 2011 by the United states of america Library of Congress and was selected for preservation in the National Film Registry.[31] The Registry noted the pic's release during the early years of the Cold War and how information technology used "the apocalyptic paranoia of the atomic age."[32] The Registry also cited the film's special furnishings, which at its release were called "soul-chilling, hackle-raising, and not for the faint of heart".[32]

The Martians were ranked the 27th best villains in the American Film Found's listing AFI'southward 100 Years...100 Heroes and Villains.

The 1988 State of war of the Worlds TV serial is a sequel to the Pal flick; Ann Robinson reprises her role as Sylvia Van Buren in three episodes. Robinson also reprises her role in two other films, first every bit Dr. Van Buren in 1988'south Midnight Movie Massacre and then as Dr. Sylvia Van Buren in 2005'due south The Naked Monster.[33] In the picture show Independence Twenty-four hour period (1996 picture), there are several allusions to Pal'southward 1953 War of the Worlds: the failed attempt of a dropped atomic flop is replaced with a nuclear-armed cruise missile launched by a B-ii Spirit bomber (a directly descendant of the Northrop YB-49 bomber used in the 1953 film) and Captain Hiller being based in El Toro, California, which Dr. Forrester mentions as existence the home of the Marines, which make the first assault on the invading Martians in Pal'due south film.[34]

The Asylum's 2005 direct-to-DVD H. G. Wells' War of the Worlds has balmy references to the Pal version: Inside the Martian'southward mouth, they take iii tongues that closely resemble the 3 Martian fingers seen in the Pal motion picture. The Asylum motion picture also includes scenes of ability outages subsequently the aliens' arrival via meteorite-ships. As in the Pal film, refugees are seen hiding in the mountains instead of hiding underground, as in the Wells novel and the protagonist actively tries to fight the aliens past biological ways.[35]

Steven Spielberg'due south version, War of the Worlds (2005), although an adaptation of the original Wells novel, does feature several references to the earlier film: Factor Barry and Ann Robinson have cameo appearances near the stop, and the invading aliens take three-fingered hands simply are depicted as reptile-like, three-legged walking tripods. In that location is also a long, serpent-like alien camera probe deployed by the invaders in much the same manner as in the 1953 film.[36] In his afterward motion picture Fix Player One, Spielberg included a fallen Martian war machine that's more akin to the 1953 film.[37]

Tomohiro Nishikado, The creator of Space Invaders, stated that seeing the picture show as a child was i of the inspirations for the inclusion and the design of the aliens in the game. [38]

Mystery Scientific discipline Theater 3000 named one of its lead characters, the mad scientist Dr. Clayton Forrester, every bit a homage to the 1953 film.[39]

In 2004, War of the Worlds was presented with a Retrospective Hugo Laurels for 1954 in the category of Best Dramatic Presentation — Short Form (works running 90 minutes or less).[xl]

See as well [edit]

  • List of works based on The War of the Worlds

References [edit]

Notes [edit]

  1. ^ "Rentals" refers to the benefactor/studio's share of the box-office gross, which, according to Gebert, is roughly one-half of the money generated by ticket sales.[20]

Citations [edit]

  1. ^ "The War of the Worlds - Details". AFI Catalog of Characteristic Films . Retrieved July 30, 2018.
  2. ^ "'The War of the Worlds'." British Board of Motion-picture show Classification, March nine, 1953. Retrieved: January 11, 2015.
  3. ^ 'The Top Box Function Hits of 1953', Variety, January 13, 1954
  4. ^ a b c d e f 1000 Warren 1982, pp. 151–163.
  5. ^ a b c d east f g h i j Rubin 1977, pp. 4–xvi, 34–47.
  6. ^ Booker 2010, p. 126.
  7. ^ Adamson, Joe. 1985'[ page needed ]
  8. ^ Howe, Tom. "Northrop YB-49 Flying Wing." cedmagic.com. Retrieved: 25 August 2012.
  9. ^ Caroline One thousand. Blake, Organized religion in Speculative Fiction, Ch.two, 5
  10. ^ Miller, Thomas Kent. Mars in the Movies: A History. Jefferson, N Carolina: McFarland & Company, 2016. ISBN 978-0-7864-9914-4. pp. 149-153 ISBN 978-0-7864-9914-4. pp. 149-153
  11. ^ *John Brosnan'due south Hereafter Tense: "Unfortunately these wires are often visible on the screen, especially during the sequence when the state of war machines first sally from their crater and appoint the army in boxing." Brosnan, John. Future Tense: The Picture palace of Science Fiction. New York: St. Martin'southward Press, 1978. p. 91
  12. ^ *Phil Hardy'due south The Overlook Film Encyclopedia: Science Fiction: "Not all Jennings' spectacular special effects work well—on their first appearance the Martian war machines have an obvious network of wires surrounding them."Hardy, Phil (Ed.). The Overlook Film Encyclopedia: Science Fiction. Woodstock, NY: Overlook Books, 1994. p. 143
  13. ^ *John Clute's and Peter Nicholls' The Encyclopedia of Science Fiction: "The wires holding upwards the machines are too often visible." Clute, John, and Peter Nicholls (Eds.). The Encyclopedia of Science Fiction. New York: St. Martin's Printing, 1993. p. 1300
  14. ^ *Gary Gerani's Top 100 Sci-Fi Movies: "While those cables belongings upwardly the machines are painfully visible, viewers tend to cutting pre-digital fx a good deal of slack." Gerani, Gary. Superlative 100 Sci-Fi Movies. San Diego: IDW Publishing, 2011 p. 129
  15. ^ *Barry Forshaw'southward The State of war of the Worlds (BFI): "[I]t has to do be said that [the use of wires] is one of the near dated elements of the special-effects, equally they are all too clearly visible in many sequences of the moving-picture show.... In British showings of the film (when information technology was re-released in a curious late-1960s U.s.a./Britain double nib with Hitchcock'southward Psycho [1960]), the more sophisticated audiences of the day chuckled at these antediluvian special-effects." Forshaw, Barry. The War of the Worlds. London: British Motion picture Plant/Palgrave MacMillan, 2014. p. 152
  16. ^ *Time, Inc.'s Special mag publication, LIFE—Scientific discipline Fiction: 100 Years of Slap-up Movies, Vol. xvi, No. 9, June 24, 2016: "The moving picture cost $2 one thousand thousand, and its $one.4 million worth of special effects remains, despite visible wires, impressive even in an historic period of CGI." Time, Inc.'s Special mag publication, LIFE—Scientific discipline Fiction: 100 Years of Great Movies, Vol. 16, No. 9, June 24, 2016: p. 16
  17. ^ *Peter Nicholls' (Ed.) outset edition of The Scientific discipline Fiction Encyclopedia: "The start appearance of the war machines, afterwards an impressive build-up of suspense, is spoilt by the obvious maze of wires supporting each one." Nicholls, Peter. The Science Fiction Encyclopedia. New York: Doubleday; 1st edition, 1979)
  18. ^ *C.J Henderson's The Encyclopedia of Scientific discipline Fiction Movies: From 1897 to the Present: "Wells' unique walking tripods are replaced by ordinary spaceship-like designs that move on beams of low-cal. This wouldn't be so bad if the wires holding them upwards weren't visible in many scenes." Henderson, C. J. Encyclopedia of Science Fiction Movies: From 1897 to the Present. New York: Checkmark Books, 2001.
  19. ^ *Leonard Maltin's Family unit Film Guide: "Kids are likely to smirk at some of the special effects (as when the wires holding up the war machines are visible)." Maltin, Leonard. Leonard Maltin's Family Film Guide. New York: Signet, 1999. p. 803 [EPDF}
  20. ^ a b Gebert 1996[ folio needed ]
  21. ^ Weiler, A. H. (as A. Due west.), "The Screen in Review: New Martian Invasion Is Seen in War of the Worlds, Which Bows at Mayfair." The New York Times, August 14, 1953. Retrieved: Jan 11, 2015.
  22. ^ "Brog".Variety, April 6, 1953.
  23. ^ Willis 1985[ page needed ]
  24. ^ "The War of the Worlds". The Monthly Movie Bulletin. 20 (232): 71. May 1953.
  25. ^ Coe, Richard Fifty. (August 21, 1953). "'War of Worlds' A Existent Wingding". The Washington Post. p. 27.
  26. ^ "The 26th Academy Awards (1954) Nominees and Winners." oscars.org. Retrieved: January 11, 2015.
  27. ^ "'The State of war of the Worlds'." Rotten Tomatoes (Flixster). Retrieved: January eleven, 2015.
  28. ^ Jeffrey Wells (October 3, 2018). "War of the Worlds" On iTunes…For Now". hollywood-elsewhere.com . Retrieved April 16, 2019.
  29. ^ Squires, John (April 16, 2020). "'The War of the Worlds' (1953) Joining The Benchmark Collection With New 4K Restoration". Bloody Icky! . Retrieved November nine, 2020.
  30. ^ Bowen, Chuck (July 20, 2020). "Review: Byron Haskin's The War of the Worlds on Criterion Blu-ray". Retrieved Nov 9, 2020.
  31. ^ "Artsbeat:'Silence of the Lambs', 'Bambi', and 'Forrest Gump' added to National Motion picture Registry." The New York Times, December 27, 2011.Retrieved: January xi, 2015.
  32. ^ a b "2011 National Film Registry More than a Box of Chocolates." Library of Congress, December 28, 2011. Retrieved: January 11, 2015.
  33. ^ "Ann Robinson Biography." Film Reference. Retrieved: January 12, 2015.
  34. ^ Aberly and Engel 1996, p. 86.
  35. ^ Breihan, Tom. "=Mockbuster video." Grantland.com, October 10, 2012. Retrieved: January 12, 2015.
  36. ^ Desowitz, Pecker. "State of war of the Worlds: A Mail 9/eleven Digital Attack." VFXWorld, July 7, 2005. Retrieved: January 12, 2015.
  37. ^ Dyce, Andrew (March xxx, 2018). "Prepare Player One: The COMPLETE Easter Egg Guide". ScreenRant . Retrieved Nov 9, 2020.
  38. ^ Staff (April 15, 2004). "Nishikado-San Speaks". Retro Gamer. No. 3. Live Publishing. p. 35.
  39. ^ "Mystery Science Theater 3000." University of Television Arts & Sciences. Retrieved: January 12, 2015.
  40. ^ http://world wide web.thehugoawards.org/hugo-history/1954-retro-hugo-awards/ Archived May seven, 2011, at WebCite. Retrieved February 20, 2018.

Bibliography [edit]

  • Aberly, Rachel and Volker Engel. The Making of Independence Mean solar day. New York: HarperPaperbacks, 1996. ISBN 0-06-105359-7.
  • Adamson, Joe. The Walter Lantz Story: with Woody Woodpecker and Friends. New York: G.P. Putnam's Sons, 1985. ISBN 978-0-39913-096-0.
  • Booker, Yard. Keith. Historical Lexicon of Science Fiction Cinema. Metuchen, New Bailiwick of jersey: Scarecrow Press, Inc., 2010. ISBN 978-0-8108-5570-0
  • Gebert, Michael. The Encyclopedia of Film Awards, New York: St. Martin's Printing, 1996. ISBN 0-668-05308-9.
  • Hickman, Gail Morgan. The Films of George Pal. New York: A. S. Barnes and Company, 1977. ISBN 0-498-01960-eight.
  • Miller, Thomas Kent. Mars in the Movies: A History. Jefferson, Northward Carolina: McFarland & Company, 2016. ISBN 978-0-7864-9914-4.
  • Parish, James Robert and Michael R. Pitts. The Great Science Fiction Pictures. Jefferson, North Carolina: McFarland & Visitor, 1977. ISBN 0-8108-1029-viii.
  • Rubin, Steve. "The War of the Worlds". Cinefantastique magazine, Book 5, No. 4, 1977.
  • Strick, Philip. Scientific discipline Fiction Movies. London: Octopus Books Limited, 1976. ISBN 0-7064-0470-Ten.
  • Warren, Bill. Keep Watching The Skies Vol I: 1950–1957. Jefferson, North Carolina: McFarland & Company, 1982. ISBN 0-89950-032-3.
  • Willis, Don, ed. Diversity's Complete Science Fiction Reviews. New York: Garland Publishing, Inc., 1985. ISBN 0-8240-6263-9.

External links [edit]

  • The War of the Worlds at IMDb
  • The State of war of the Worlds at the TCM Motion picture Database
  • The State of war of the Worlds at Rotten Tomatoes
  • The War of the Worlds at the American Flick Institute Catalog
  • The Complete War of the Worlds Website
  • The War of the Worlds: Sky on Burn an essay by J. Hoberman at the Criterion Drove
  • Making of the motion picture at site dedicated to all things State of war Of The Worlds
  • Interview with War of the Worlds star Ann Robinson
  • The War of the Worlds on Lux Radio Theater: February viii, 1955. Accommodation of 1953 film.
  • The War of the Worlds (1953) in xxx seconds, re-enacted by bunnies. at Angry Alien Productions
  • The War of the Worlds - A Radio and Film Score Remembrance

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