William Cameron Menzies was born in New Haven, Connecticut on 29 July 1896 to Scots immigrant parents. He studied at Yale and the University of Edinburgh, and after serving in the US Army during World War I he attended the New York Art Student League, then joined Famous Players-Lasky (later to evolve into Paramount) working in special effects and design. He went independent in 1923 to work with prominent directors of the period such as Allan Dwan, Raoul Walsh and Fred Niblo, and soon made a name for himself as one of the most individual and gifted of cinematic designers. His status was confirmed at the first-ever Academy Awards ceremony, when he won Best Art Direction Oscar for The Dove (d. Roland West, 1927) and Tempest (d. Sam Taylor, 1928).
In 1931 Menzies took up direction, and made half-a-dozen pictures – but always as co-director. The art director Lyle Wheeler, who worked with him later at Fox, felt that Menzies was “no damn good as a director… He wanted to photograph ceilings… read more
Body Snatchers definitely fixed this bit of American propaganda – mostly by removing the endless scenes of figures running around in caves for no reason, and the army tank fetishizing. Though I appreciate the eroticism of the observatory spreading open its doors and swinging its big telescope dick around. Oh, and the head with arms in a fish tank being escorted nowhere. Otherwise, this put me to bed 2 hours early.
As a kid it frightened me a lot--mostly because I knew it was true. The adults in my community had been acting odd for quite some time. Finally, I knew why.
Marsianer landen in einer US-Stadt und steuern deren Einwohner mit Hilfe von Hirnsonden. Allerdings nur im Traum eines Jungen, was in der dt. Fassung durch ein anderes Ende jedoch nicht so offensichtlich wird. Hinzugefügt wurde dafür eine Szene mit pseudowissenschaftlichem Geschwätz, in dem ein Wissenschaftler unter anderem etwas als Fakt ansieht, nur weil das Gegenteil auch nicht bewiesen werden kann. Wunderbar!