The War of the Worlds (1953) - Rotten Tomatoes

The War of the Worlds (1953)

The War of the Worlds (1953)



Critic Consensus: Though it's dated in spots, The War of the Worlds retains an unnerving power, updating H.G. Wells' classic sci-fi tale to the Cold War era and featuring some of the best special effects of any 1950s film.

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Movie Info

Earth is under attack in the chilling Cold War classic "The War of the Worlds" (1953). In one of the greatest science fiction films of all time, invaders from another world target a small California town with autonomous probes and laser disintegration rays. A terrifying vision of an America under siege based on the novel by H.G. Wells starring Gene Barry, Ann Robinson and Les Tremayne and featuring Academy Award-winning special effects. This special Collector's Edition includes a making-of documentary, Orson Welles' original Mercury Theatre Radio Broadcast of "The War of the Worlds" and more. With a French language track.

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Lewis Martin
as Pastor Matthew Collins
Sandro Giglio
as Dr. Bilderbeck
William Phipps
as Wash Perry
Paul Birch
as Alonzo Hogue
Jack Kruschen
as Salvatore
Vernon Rich
as Col. Heffner
Paul H. Frees
as Radio Announcer
Gene Barry
as Dr. Clayton Forrester
Ann Robinson
as Sylvia Van Buren
Les Tremayne
as Maj. Gen. Mann
Carolyn Jones
as Bird-Brained Blonde
Houseley Stevenson Jr.
as General's Aide
Nancy Hale
as Young Wife
Walter Sande
as Sheriff Bogany
Alex Frazer
as Dr. Hettinger
Ann Codee
as Dr. DuPrey
Ivan Lebedeff
as Dr. Gratzman
Frank Kreig
as Fiddler Hawkins
Ned Glass
as Well-dressed Man During Looting
Russ Conway
as Rev. Bethany
Cliff Clark
as Australian Policeman
Edward Colmans
as Spanish Priest
David McMahon
as Minister
Freeman Lusk
as Secretary of Defense
Don Kohler
as Colonel
Sydney Mason
as Fire Chief
Peter Adams
as Lookout
Ted Hecht
as KGEB Reporter
Teru Shimada
as Japanese Diplomat
Herbert C. Lytton
as Chief of Staff
Ralph Dumke
as Buck Monahan
Edgar Barrier
as Prof. McPherson
Wally Richard
as Reporter
Jerry James
as Reporter
Ralph Montgomery
as Red Cross Leader
Russ Bender
as Dr. Carmichael
Douglas Henderson
as Staff Sergeant
Anthony Warde
as MP Driver
Bud Wolfe
as Big Man
Jimmie Dundee
as Civil Defense Official
Bill Meader
as P.E. Official
Al Ferguson
as Police Chief
Gus Taillon
as Elderly Man
Dorothy Vernon
as Elderly Woman
Hugh Allen
as Brigadier General
Stanley Orr
as Marine Major
Charles Stewart
as Marine Captain
Fred Zendar
as Marine Lieutenant
Jim Davies
as Marine Commanding Officer
Dick Fortune
as Marine Captain
Edward Wahrman
as Cameraman
Martin Coulter
as Marine Sergeant
Hazel Boyne
as Screaming Woman
Cora Shannon
as Old Woman
Mike Mahoney
as Young Man
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Critic Reviews for The War of the Worlds

All Critics (27) | Top Critics (5)

As the perfect crystallization of 50s ideology the film would be fascinating enough, but the special effects in this 1953 George Pal production also achieve a kind of dark, burnished apocalyptic beauty.

June 8, 2007 | Full Review…

War of the Worlds is a socko science-fiction feature, as fearsome as a film as was the Orson Welles 1938 radio interpretation of the H.G. Wells novel.

June 8, 2007 | Full Review…

Mind those heat rays!

October 31, 2006 | Rating: 3.5/5 | Full Review…

Too bad about the wooden cast, the tackily conventional romance, and a draggy religious message; but at least, given the time it was made, it isn't imbued with Cold War hysteria.

January 26, 2006 | Full Review…
Top Critic

A half-century after its creation, the film's best moments are still so enjoyably unnerving that they easily carry a viewer through the necessary but inevitably dated exposition.

December 6, 2005

Understandably well-remembered, but its status as a high classic seems more incidental than earned.

October 3, 2011 | Rating: 3/5 | Full Review…

Audience Reviews for The War of the Worlds


Extremely dated with mind-numbingly wooden acting. Some of the special effects are kinda nice to look at but their is not enough set pieces to hide the thin and uninspired pseudo-documentary screenplay. The religious overtone that comes out of nowhere in the end is face-palmingly over-the-top. The characters are cardboard cut-outs and the pacing is slower than the flying saucers. The aliens look atrociously silly because of their eyes which look like glowing "Simon-Says" toys. Not quite sure why this dumb excuse for a popcorn flick is considered a classic. However I will give the movie credit, it gave me and my friends some great laughs.

Christopher Heim
Christopher Heim

Super Reviewer


Could not help but contrast the original to the Spielberg/Cruise version. Besides the difference that fifty years make, the original film focuses more on the alien takeover of the planet and their aggression, rather than on the emotional aspects of survival that the latter film made the central point. This version does follow a scientist and his female colleague as they try to combat deadly otherworld weaponry with everything from tanks to the atom bomb, all of which are obliterated by the superior beings' lasers and firing mechanisms. Instead of leaving us in the dark to the world's whereabouts like the remake, the original holds a British narration and stock footage from World War Two to show the world spectrum and the devastation that's being caused. The Technicolor contrast was crisp, the color reminiscent of museum dioramas. Still, the film doesn't deal with any real human fears or struggle for survival until the last twenty minutes of the film, once all options are exhausted and hysteria takes hold, making mobs out of the remaining citizens of large metropolises. There are some heart wrenching sequences, but it was very long-winded and boring in the beginning, which can't be made up for. Plus, the female heroine of the film is described as intelligent with a Masters in library sciences, but when trouble comes a calling she shrieks, puts her hand to her temple, and flashes her false eyelashes up at any macho hunk nearby. And the ending, which I won't give away, feels like a blatant copout. It's a quick fix to a problem that's supposedly so big it's unstoppable. There are also many religious overtones as a ploy, unlike the book written by H.G. Wells, a speculated atheist. Still, it was enjoyable as long as I paid attention to the alien ships and not the tiresome humans.

Spencer S.
Spencer S.

Super Reviewer

It's a common complaint that American adaptations of British novels lose the quintessential nature of their source in favour of something more glossy and marketable. That's certainly true of The War of the Worlds, the first attempt to put H. G. Wells' iconic novel up on screen, and the first to come in the shadow of Orson Welles' ground-breaking radio play. It's not as tense as Welles' version, or as enjoyable as Steven Spielberg's take, but it is a perfectly passable adaptation with a number of strong points. The film starts off with our narrator (played by English character actor Sir Cedric Hardwicke) guiding us on a whistle-stop tour through the solar system. He explains the hostile nature of other planets' atmospheres, concluding that if the Martians should invade anywhere, it would have to be Earth. The Martians are presented as an intelligent race, and we are to some extent shown the build-up to the invasion from their point of view. Having started promisingly, it isn't long before some of the film's budgetary constraints become apparent. Like a lot of B-movies, the film is heavily reliant on stock footage during its bigger, more action-packed moments. Its re-use of the same shots of cannons firing and tanks rolling into battle make it seem like an ad campaign for the American army. In the middle of the film there is also a montage of destruction and chaos intercut with footage of the actors, a technique which would later be used to perfection in the opening sequence of Mad Max 2. On the other hand, we have the special effects of the aliens. This is the element which Byron Haskin and his team had to get right, and generally speaking, they did. The swan-shaped copper aliens were specifically designed not to resemble flying saucers, and in the wide shots especially they are pretty threatening. They are not, however, tripods as detailed in the book; rather than walking (which is difficult to replicate mechanically), the war machines float via beams of blue light, which at the very least distract us from the wire work. But while the war machine designs are truly out of this world, the Martians themselves are disappointing human. The faces of the Martians, which are replicated in their periscopes, are made up of red, blue and green panels, which are arranged to vaguely resemble the outline of a human face - the red panel is at the bottom to denote a mouth, and the blue and green panels above it could easily be eyes. As is so often the case, the aliens in The War of the Worlds look most sinister from a distance - when a Martian touches our heroine on the shoulder, it's a bit pathetic. This version of The War of the Worlds deviates sharply from the novel in a number of ways, some interesting and successful, others less so. Most obviously, the action is relocated from 1890s Woking to 1950s California, and in doing so a lot of the substance of Wells' novel is lost. So much of the original story is about turning the accepted British political and social attitudes on their heads by portraying a war in which the British are the victims of an invasion rather than the conquerors. British imperialism, Herbert Spencer's natural selection and the 'English way of life' are all held under the microscope and shown to be ruthless and unjust. By transferring the story to America, as Welles had done, The War of the Worlds becomes more about the Cold War and American fears of 'Reds under the beds'. Some of this substance fits quite nicely around the original plot: the Martians, who come from 'the Red planet', are demonstrated to be highly organised and efficient, and working collectively towards a single goal. But even as bald allegory goes, it's not as satisfying an examination of Communist threat as Invasion of the Body-Snatchers (which itself is trumped by the 1970s version by Philip Kaufman). More frustratingly, the film makes big concessions to melodrama. We are required, for instance, to believe that Gene Barry is a famous and highly intelligent scientist, despite the fact that he looks every bit as chisel-jawed and rugged as Charlton Heston. When Ann Robinson's character questions him about this, he says that he shaved his beard off before coming to town and so no longer resembles his photo on the cover of Time. As laughable excuses go, it's up there with the line in The Hunt for Red October in which Sean Connery's unique accent is explained away by saying he is Lithuanian. Being an old Hollywood film, the role of women is, shall we say, restricted. Robinson is required to scream and be hysterical on cue, while all the men around here can be noble, restrained and carry out a plan of action. While the male leads dash around the bunker, planning their attack on the Martians, she is left to hand up cups of coffee; and after the couple have sheltered in a tumbledown house, she makes Barry his breakfast first thing in the morning. The film may not be as sexist as The Snows of Kilimanjaro, but it's hardly pushing the envelope when it comes to female roles. Despite these contrivances, however, we find ourselves bonding to these characters and staying with them for the course of the film. Although their introduction might be slightly silly, they are generally well-drawn and sympathetic. We certainly care about them enough to worry that they might get separated and never see each other again, as happens in the last twenty minutes when the film really girds its loins and shows human society on the verge of collapse. Critics of The War of the Worlds have written the story off as people running away for 90 minutes, but these scenes are both visually spectacular and emotionally engrossing. The film is at its most interesting when it taps into the characters trying to cope with the invasion and depicting the surrounding chaos. Aside from the street scenes in which men are turning on men and money has become worthless, there are a number of moments of genuine panic or alarm which stick in one's mind. The scene of the vicar wandering out to meet the Martians while reciting Psalm 23 will have you on edge, as will the feeling of desperation after the aliens survive an atomic bomb. As with all productions of The War of the Worlds, we eventually have to face one of the anticlimactic endings in literature. Having the aliens being killed by bacteria is a classic deus ex machina, drawing the action to a convenient close through a plot device which is deeply unsatisfying. But rather than go the way of The Blob or Invasion of the Body-Snatchers and leave us on a daring cliff-hanger, this adaptation takes the original ending and manages to fudge it further. Wells was a scientific socialist who believed in rational progress towards a better society. In the book, our narrator takes shelter with a priest who loses his mind and meets a sticky end: the rational survive, the irrational do not. But Haskin and his screenwriter Barré Lyndon (an obvious but witty pseudonym) fudge this by inserting religious themes. Just before the Martians start falling out of the sky, the survivors are gathered in a church praying for a miracle. The narrator explains that "humanity was saved by the littlest things, which God, in His wisdom, had put upon this earth.". Suggesting after such carnage that God was involved all the time simply doesn't cut the mustard in this context. The War of the Worlds is perfectly passable tosh. It doesn't have the political balls or ambition of Orson Welles' version, and it deviates from its source so wildly that purists will be annoyed. But there is enough schlocky B-movie charm in it to entertain for its short running time, and those who are not fans of Spielberg's version will probably enjoy this more. It's nothing to write home about, but as 1950s B-movies go it has lasted and dated surprisingly well.

Daniel Mumby
Daniel Mumby

Super Reviewer

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