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I am not certain if that was before or after the reading of Wells’ novel, the first adult novel I read at eight or nine years of age. Maybe it was because of seeing the scene that made me read the book at such an early age. (We had a ton of books in the house and that advertisement was in the vicinity.) It is fair to state that I definitely recall the book as my childhood deeply imprinted the idea in my mind; therefore, when I eventually watched the entire movie, reading the book in hand was a feeling that was breathtaking juxtaposed with dissonance was beautiful which showcased the difference between the English setting to California, the moving forward from the Victorian era to a wider setting, and Wells’ towering tripods evolving into sleek, gliding Manta rays. This is possibly the first time I was able to witness an adaptation at its finest.
The residents are certain they can profit from the ‘meteor’ claim. In Byron Haskin’s The War of the Worlds (1953), the locals think there’s money to be made from the “meteor” As for me, I don’t think I had seen the movie. My TFT has been so small and black-and-white. Looking back now, it seems as if, for each subsequent viewing, there was more added to what I observed: first a commercial interrupted colour broadcast, then a color VHS tape, which was followed by a laser disc, with colour finally having some impact — it’s the most memorable vivid image of any laser disc I have watched, onto DVD, then finally to Blu-Ray from Criterion, which I bought with a 4K scan of the three-stripe Technicolour negative. The first time watching the film on a black-and-white TFT was no color at all, but with every viewing done afterwards, the quality of drama evolved in such an interesting manner along with the format change.
The Cobra head heat ray projector rises from the landing site.
Looking back in history, the images from The War Of The Worlds are quite eye-catching. Pal and Haskin exhibited modern weaponry that was mounted on sleek drones which were zooming across farming fields and Los Angeles streets, prior to Ishiro Honda’s release of Godzilla on the Toho sound stage. These drones had the ability to shoot out plasma cannons that could vaporize beautifully designed buildings while Pal had single-handedly introduced the disaster genre to cinema through his film When Worlds Collide. On the other hand, Maté’s film overshadowed this by casting a tidal wave destroying ‘New York’ from afar. War of the Worlds, on the other hand, showcased destruction from the street view. When you witness destruction this way, it certainly sends chills down one’s spine.The miniatures and special effect work in The War of the Worlds truly is impressive; even after around seventy years have passed! The illusion of reality they provide still feels unmatched especially when compared to other modern forms of CGI animation. Their images are even further enhanced by the exquisite Technicolor photographs. There is something unique about color techninc which doesn’t apply depth realism as much as it does feign visual fantasy and fantasy versions of the world. The husband of Gone with the Wind’s future screenwriter herself had noted, “Color is hard to the eyes for so long a picture which is in fact true for anything Hornblower related”, this was the level of a speech. Here, color further enhances the hue of imagination that people need to go through while watching the film’s events unfold. The horrible molten red hues of the cylinders being captured in atmosphere, the unhealthy greenish glow radiating from where the Martians are fabricating their war machines, and ectoplasmic white rays with green stains released by super powered machines are some of the example where color added even more imagination to an already imaginative event.
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