The 75th Anniversary of The War of the Worlds, Or: How Orson Welles Scared A Nation

Originally published: October 30, 2013

TODAY marks the 75th anniversary of Orson Welles and the Mercury Theater on the Air’s notorious radio broadcast 'The War of the Worlds'. This first adaptation of H.G. Wells’ seminal science-fiction novel took the form of a series of shocking news bulletins and convinced thousands of Americans that an invasion from Mars was taking place. 

Nearly a century later the extent of the panic is still subject to discussion. Many believe the printed press of the time exaggerated their claim of mass hysteria to cast shade at their new radio rivals. Using the ‘War of the Worlds’ incident as an opportunity to point out the dangers of radio. 

The eve of Halloween

In reality there were a number of people who did panic. And who can blame them? American radio listeners weren’t exactly in the calmest state of mind when Welles went on the air. With growing tensions overseas, many relied on radio for much of their information on world affairs. These factors are said to have contributed greatly to the public’s reaction. 

As an alien invasion story ‘The War of the Worlds’ was also the first of its kind. Published in 1898, it was one of the novels that earned H.G. Wells his reputation as a writer of speculative fiction. Since the radio broadcast the story has been adapted several times: George Pal released his version in 1953 followed by Steven Spielberg in 2005. Jeff Wayne even made a musical version in the late ’70s. 

''We interrupt this program...''

Even after 75 years the broadcast is surprisingly convincing. As a holiday offering the ‘The War of the Worlds’ began innocently enough. With Orson Welles describing the Martians’ motivations: Their planet was dying and so they conspired to colonize our fertile blue dot. After this prologue the listeners were treated to some ballroom music, regular programming at that time.* 

 It didn’t take long for the ‘original’ programming to be interrupted by a news flash. It was the first in a series of increasingly bizarre news reports. However it wasn’t until a reporter covered the Martian arrival firsthand that things got really freaky. The reporter described squid-like beings crawling from the spacecraft. Moments later listeners heard bloodcurdling screams, as the crowd (including our dedicated reporter) were set on fire by the Martian weapons. 

‘’I don’t want to die alone!’’ 

After the broadcast revealed the Martians and their nefarious intentions people took to their phones. In San Fransisco a man called the police department to ask if he could volunteer to fight the men from Mars. A woman in Boston claimed she’d seen flames above the treetops. She ran from house to house, warning her neighbours of the approaching danger. In Missouri a man, clothed in nothing but a bathrobe, knocked on his neighbour’s door saying he didn’t want to die alone. 

Panic grew when the broadcast described the invaders’ giant war machines. Many New Yorkers got in their cars and attempted to flee the city. A man in Pittsburgh saved his wife from committing suicide. She claimed she’d rather take her own life than be slaughtered by Martians. 

 The people of Newark took to the streets when the broadcast warned them of poisonous gas coming their way. Many were seen holding handkerchiefs against their mouths, as not to breath in the poison. A woman in Minneapolis sought refuge in a church. She frightened churchgoers by announcing the end of the world. On the night of October 30th 1938 ‘The War of the Worlds’ became the biggest Halloween prank anyone had ever pulled. 

The beginning of a career 

At first Orson Welles was taken aback by the public’s reaction to his radio drama. Years later he confessed that he wasn’t as innocent as he appeared. He referred to ‘The War of the Worlds’ as his assault on the credibility of radio. He was fed up with the way people took everything that came over the radio as fact. The broadcast was his way of telling people to think for themselves. 

For some listeners the broadcast did just that. They became suspicious of many events reported over radio. Some even doubted early reports of a Japanese attack on Pearl Harbor. Welles himself wasn’t left empty-handed either. ‘The War of the Worlds’ earned him the attention of Hollywood, which led to his highly regarded directorial debut ‘Citizen Kane’. It was the beginning of a legendary career.† 

Notes: 

*Bernard Herrmann was responsible for the music in the broadcast. Herrmann went on to become one of a most famous film composer. Scoring such classics as ‘Citizen Kane’, ‘The Day The Earth Stood Still’ and ‘Psycho’. 

†In 1940 Orson Welles and H.G. Wells met for a radio interview. During this conversation the elderly writer asked Orson about his upcoming film ‘Citizen Kane’. Orson thanked him for the opportunity to plug his new project. He explained it was a new kind of motion picture, featuring new methods of visual storytelling. H.G. Wells responded with this funny little line: ‘’If I don’t misunderstand you completely, I understand there will be a lot of jolly good new noises in it.’’

Gravity Review

'Gravity' is a masterpiece. An awe-inspiring mix of action, horror and humanity. It has been seven years since Alfonso Cuarón gave us 'Children of Men' but it was worth the wait. There's never been any movie quite like 'Gravity'. The imagery presented in this film is simply mind-boggling. It's an amazing accomplishment.

However all that craftmanship would've been for naught, had the story not worked on a basic human level. Astronauts Stone (Sandra Bullock) and Kowalski (George Clooney) are on a shuttle mission. They are on a routine spacewalk when things go terribly wrong. In a matter of seconds their shuttle is destroyed and they find themselves adrift in space. 

From then on it's a story of survival. Through the magice of storytelling, we experience Stone's ordeal as if we're there with her. The film works like clockwork. The timing of action and emotional beats is impeccable. It's been a long time since I've seen such economical storytelling in a big budget feature. It's a refreshing surprise.

It's apparent that Alfonso Cuarón strived to make 'Gravity' as realistic as possible. In the opening sequence, people and objects are seen gliding effortlessly through the zero-g environment. Earth fills up the screen behind them. It's a beautiful moment. This tranquility lasts until the debris field moves into view. The effects of the debris hitting the spacestation are frighteningly violent. 

Cuarón overcomes the scientific impossibility of sound in space by employing Steven Price's effective musical score. It's a compelling soundtrack that combines beauty and dissonance. That is true for the movie as a whole. 'Gravity' shows the us the wonder and the insurmountable risks that come with space exploration. 

Still, it's the intimacy of the story that makes it so tangible. 'Gravity' is a small movie, set against a vast backdrop. We experience Stone's fight for survival as if it were our very own. The film owes its emotional power to Bullock's honest performance. The transformation she goes through is wonderful in its simplicity and the actress pulls it off brilliantly. 

'Gravity' is a work of pure artistic craftmanship. Seldom have I seen a film that hits home like this one does. Alfonso Cuarón and his cast and crew have created a film that is as close to perfection as you can get. This is filmmaking at its finest. That's why 'Gravity' is the most viscerally engaging film I've seen in a long time. It really is a masterpiece.  

Machete Kills Review

'Machete' began life as a fake trailer attached to the film 'Grindhouse'; a project spearheaded by Quentin Tarantino and Robert Rodriguez. The trailer starred Danny Trejo as a pissed-off Mexican mercenary. Eventually Rodriguez took it upon himself to expand upon the trailer and bring 'Machete' to the big screen. The result was a mildly entertaining action film that tried hard to be fun but failed miserably.

You'd think Rodriguez and Trejo would leave 'Machete' well enough alone. Unfortunately they stuck a teaser for a sequel on the film's ass end. And because they are men of their word, we're treated to a sequel that comes close the being the movie 'Machete' tried to be.

'Machete Kills' is over the top, simplistic, awful, violent, misogynistic and fueled by testosterone. Danny Trejo is still the worst leading man I haver ever layed eyes on. He has no character or charisma, all he has is a face. And it's not even a pretty one. Really, there are burn victims with prettier faces than Danny Trejo.

I didn't expect 'Machete Kills' to be good. But it's a testament to awful filmmaking that Trejo has zero impact his own story. His character only rarely makes a choice that influences the direction of the story. Most of the time he's just along for the ride, surrounded by people who are a lot more interesting than him. Both of these films prove that it's hard to make good bad movie.

Because that's what they were trying to do, make a good bad movie. It's terribly tricky thing to do, because if you do it the wrong way you end up with a bad bad movie. That's what happened to 'Machete'. Luckily this sequel has a few aces up it's sleave. Those aces are Demian Bichir, Antonia Banderas, William Sadler, Cuba Gooding Jr., Carlos Estevez and Mel Gibson.

I don't know how many family members Rodriguez had to kidnap in order get these actors in this movie but it's worth the effort. They're all visibly enjoying themselves. The one who sticks out, however, is Mel Gibson. He is great as the film's big bad.* You could write a whole book (okay, maybe five pages) about this guy's ode to James Bond villains. But even the shiniest of stars can't hide the awful turd that is 'Machete Kills'. Still, I hope against hope that 'Machete Kills Again... In Space' will be the masterpiece we deserve.

*It's going to be hard for Leonardo DiCaprio to top Mel Gibson in the next movie. 

Kick-Ass 2 Review

Jeff Wadlow's 'Kick-Ass 2' is a shallow sequel. It's one of those follow-ups that doesn't understand what made the original film work. Becoming an occasionally enjoyable knock-off while Matthew Vaughn's 'Kick-Ass' was an absurdly entertaining mix of violence and comedy. On top of that, this sequel is so mean spirited it makes you feel downright dirty.

All the big elements are back. Aaron Taylor-Johnson returns as the geeky superhero Kick-Ass. Chloë Moretz reignites controversy as Hit Girl. And Christoper Mintz-Plasse takes over from Mark Strong as the film's main baddie. The biggest new name must be Jim Carrey. Who plays a religious nutcase known as Colonel Stars & Stripes. Carrey is the one of the film's sole highlights.

Much like the original there's lots of swearing and cussing. Of course there's also an unhealthy amount of violence, but if you're going to see a movie called 'Kick-Ass 2' you can't really complain about that. You can complain about the overall quality. This flick feels like it should've gone straight to DVD. It's simply doesn't operate on the same level as Vaughn's original.

I'm not arguing that the first 'Kick-Ass' was some kind of masterpiece. However it was funny, well-paced and action packed. It had a huge amount of wit and (semi-)intelligence. All of which 'Kick-Ass 2' isn't able to match. The first film had Nicholas Cage in a role that didn't feel like stunt casting. Cage was a perfect fit for an insane superhero. Here we get Jim Carry, whose greatness is wasted on a bit part. It's just a missed opportunity.

The only real exception to the rule is Chloë Moretz. Who jumps at the chance to explore Hit Girl's twisted psyche. Along with Moretz we discover that the apple didn't fall from the tree. Hit Girl (aka Mindy) is just as bat-shit insane as her old man. Stubbornly believing in the virtues of vigilantism even though everything that happens to her and her loved ones should make her think twice.

So while 'Kick-Ass' seemed aware of its skewed morality, this sequel isn't. In fact, the filmmakers seem to revel in being as crass and violent as possible. There's a handful of moments that echo the original's sense of fun but those aren't enough for 'Kick-Ass 2' to redeem itself. As it stands, this sequel is barely worth your time. You're better off watching Matthew Vaughn's original again instead. 

Elysium Review

In 2009 the South-African director Neil Blomkamp surprised audiences with 'District 9'. A landmark film in the science-fiction genre. Now it's four years later and again Blomkamp has crafted a futuristic action movie with a brain. The film is called 'Elysium' and it's a perfect companion piece for 'District 9'. 

'Elysium' paints a bleak future. You might think we have it bad right now but boy, wait until you get to 2154. Everywhere you look there's garbage and people living in squalor. There are law enforcing robots staring at you from every corner. And if you want a job you can go work at the factory. It's dangerous and monotonous but it does keep you off the street.

Your boss, though. He got a far better deal than you. That wealthy bastard gets to live on Elysium; a space station orbiting Earth. He's not alone up there. Nope, every rich son a bee lives in that artificial piece of heaven. It's awesome. There's no hunger or sickness and you'll never have to do any physical work ever! Obviously, the people who live on Earth feel a bit miffed by the fact they aren't allowed to live on Elysium.

Max is miffed too. Especially because he's only got five days to live after an accident at work. On Elysium he'd be cured in a second but on Earth he's a goner. So what would you do? Get you're irradiated ass to Elysium, of course! It isn't going to be an easy trip. For starters, the rich bastards don't take kindly to people coming for their home. Then there's the ruthless way they choose to do away with the people who try.

Matt Damon is Max. He's got the role of everyman down pat. It doesn't matter if he's working at a factory or kicking ass, he's entirely believable. Jodie Foster is rich bitch numero uno. She's not that threatening on her own but she does have a dog that bites. That dog is the ruthless Agent Kruger. It's a massively creepy role that should make Sharlto Copley into a household name (even though it's pretty difficult to pronounce). 

Neill Blomkamp has created an intelligent bit of sci-fi. There's enough action to satisfy your average moviegoer but it also provides some healthy food for thought. In many ways Blomkamp's films evoke the work of Paul Verhoeven. Both are masters at infusing their action films with a wealth of ideas. Like Verhoeven, Blomkamp also has a fondness for ickyness. The violence is graphic and disturbing but it's never glorified. 

On the contrary. Much like in 'District 9' the weapons are so brutally effective that using them could be considered cowardly. People are dismembered, decapitated and blown apart with only a slight squeeze of the trigger. But for all the violence and action, 'Elysium' never quite forgets what it's about. In its heart it's a movie about the ever growing divide between rich and poor. These days it is rare for a blockbuster to have not just a heart but a brain. And like any great science-fiction story, 'Elysium' is a compelling reflection on the human condition. 

The Wolverine Review

It was to be expected. Nothing can stop Hugh Jackman from returning as the bad-tempered mutant John Logan. Not even a piece of trash like 'X-Men Origins: Wolverine'. His second solo outing fares better. 'The Wolverine' is a likeable movie. James Mangold provides us with a fun ride with ample amounts of action and even some character work.

'The Wolverine' opens with a bang. Actually, it opens with second biggest bang in history; the detonation of a nuclear bomb at Nagasaki in 1945. Naturally, none other than Wolverine is there to witness the event as a prisoner of war. In an act of bravery he saves a Japanese officer from a fiery fate. And unbeknownst to Logan, young Yashida grows up to be the most powerful man in Japan.

So while Yashida lives it up, Wolverine lives like a vagabond. He has sworn off his violent ways because of his hand in Jean Grey's death. But he's haunted by visions of his former love none the same. But as we all know, a pacifistic Wolverine is boring so the filmmakers bring in Yukio (Rila Fukushima). She's also a mutant, gifted with the depressing power to foresee people's deaths. Her employer wishes to strike a deal with Logan. One that involves giving up his immortality. 

Obviously the employer turns out to be Yashida. Who, rather than dying of old age like a regular Joe, wants to extend his life by transferring Logan's healing ability to himself. The moment John refuses, shit hits the fan. Our beloved mutant is cast into a web of lies and once again he's forced to become The Wolverine. What follows is a fun but ultimately unremarkable piece of summer entertainment. 

Hugh Jackman is a permanent fixture in 'X-Men' universe, playing the character of Wolverine for sixth time. (He'll also be a part of next year's 'Days of Future Past') He's also the only one to get his own movie series. A strange thing because Wolverine is arguably the least interesting character in the franchise. Still, Jackman's charisma is there in abundance but it's all becoming a bit stale.

That's basically what the entire film feels like. There's nothing entirely bad about it but there isn't anything really good either. It's a generic movie. One that neither impresses nor offends. As hard as I try, I can find no fault with it. If you're looking for a good time, you can't go wrong with 'The Wolverine'. It's quality entertainment. But in all fairness, you'll forget you even saw it the moment you leave the theatre. 

Pacific Rim Review

Every once in a while a movie comes along that raises the bar. That works on a scale that we've never seen before. The original 'King Kong' is one of those movies, 'Star Wars' is another. These are films that opened up lush new worlds and introduced us to legendary, yet human, characters. 'Pacific Rim' can proudly claim its place among these larger than life blockbusters. It's a film unlike any other, although it is firmly rooted in the most basic cinematic traditions.

'Pacific Rim' is the brainchild of screenwriter Travis Beacham and the Spanish director Guillermo del Toro. The latter is known for his distinctive visual style and love of weirdness. Together they created a future in which mankind is fighting for their right to exist. Against a race of enormous creatures that arrived on  Earth through an interdimensional portal located somewhere in the Pacific Ocean. These Kaiju challenge humanity's place as the dominant species on the planet.  

To stop them, mankind has united to create the Jaeger Program. The program involves the construction of giant machines capable of slaying the vicious Kaiju. But there's a catch. A pilot can not operate one of these oversized can openers alone. The load has to be shared between two pilots. They do this by establishing a neural link (otherwise known as the drift) between the pilots and the machine. The link creates a powerful bond between the subjects.

In the hands of a lesser director 'Pacific Rim' could've turned into a soulless monster akin to the 'Transformers' films. Instead Del Toro manages to tell a spectacular but still very human story. This is the way to make a blockbuster. It's not about the amazing special-effects, it's about the characters. Del Toro and Beacham know just how to put their focus on the human element. By doing this they make 'Pacific Rim' work as more than just a popcorn flick.

In a time where blockbusters grow increasingly convoluted and cynical, this film's simplicity and optimism are like a breath of fresh air. There's no silly detours or elaborate mysteries that never quite live up to their promise. Instead Del Toro gives us cool robots fighting weird monsters. The fight scenes themselves are beautifully shot and every punch feels real. There's a genuine sense of danger. You can't help but gasp at the way these titans go at it.

The cast is strong as well. Charlie Hunman is Raleigh; a former Jaeger pilot who lost his brother. Hunman offers us a broken yet charismatic hero who is reluctant to return to battle. Mako, his co-pilot of choice, has her own demons. Rinko Kikuchi, who plays Mako, creates the most interesting character in the film. Vulnerable but strong.

Charlie Day and Burn Gorman are best described as the RD-D2 and C3PO of 'Pacific Rim'. Their quarrels account for much of the humor in 'Pacific Rim'. They're an odd couple but extremely entertaining. On the opposite side is Idris Elba's Marshall Pentecost; a weathered Jaeger pilot. Elba's noble and haunted performance is at the core of the film. Of course, Guillermo del Toro's regular collaborator Ron Perlman also makes an entertaining appearance. This time as black marketeer who deals in Kaiju body parts.

Still, the Jaegers and the Kaiju are the main attractions. Both are brilliantly designed. Some of the Kaiju are absolutely nightmarish. Others are just plain cool. You can easily imagine the heated discussions between twelve-year-olds. Talking about the most destructive monsters or the most badass Jaegers.* Acting out imaginary fights between the film's heroes and monsters. 'Pacific Rim' is that kind of movie but on a scale you've never seen before. A movie you wish you had seen when you were twelve years old.


*The Kaiju that attacks Sydney is my personal favourite. Also, the Australian Jaeger kick all kinds of ass.