Although very much of its time, this 50's sci-fi flick stands up to a modern viewing. The effects deserve their Oscar, and the production design of the martian ships is both beautiful and timeless. The story has a certain 50's hokiness, but works well anyway.

One note about the sound effects. The martian battle noises are probably what stays with me most, although some of them have been recycled throughout the years. One hears the unmistakable throb of 60's-era Star Trek photon torpedoes, a sound that was later reused (again) for certain video games. During the climactic scenes in the church as the martians plow a path of destruction nearer and nearer to our heroes, I kept asking myself who it was that was playing Maelstrom in the vicinity (as that was what much of the battle sounded like).

I'm old enough to remember accompanying my Dad to see this flick in the mid 1950's when it was first released. This movie represents, to me, what great film making is all about. A superlative story (of course), a gifted adaptive screenplay, acters who seem to live the part, not play it and, of course, state of the art, Oscar winning (first ever)special effects that, for its time, were indeed awsome. I'll mention one caveat, younger people weaned on "Star Wars" type Sci-Fi may not appreciate or even recognize quality film making like this.

I HAVE NEVER SEEN A SPIELBERG MOVIE WITHOUT NOTICING SOME SORT OF COPYING OF ANOTHER AUTHOR OR FILMAKERS ENDEAVORS. AND I HAVE BEEN WATCHING HIM FOR A LONG TIME NOW. ASK AMY IRVING .......SHE'LL TELL YOU.

the scientist/protagonist. It would have been a much better movie if they'd cast someone else in the lead.

Great special effects, kind of a dorky story overall, really.

With the big budgeted blockbuster Tom Cruise vehicle entering cinemas in June, it's only fitting that one should revisit this newly released 1953 classic where aliens - perhaps from Mars - reach Earth not as any part of a scientific endeavor, or to make some kind of benevolent contact; but as part of a horrific, destructive invasion force that is intent to wipe human civilization off the face of the earth. Set largely in Southern California, The War of the Worlds follows the aliens' cluster of sleek, green-tinged and cobra-like fighting ships, as they launch an all out assault on the military, and then begin to march on and destroy Los Angeles.

The aliens' warships are impenetrable, and even atomic weapons have no effect on the energy shields used by alien warships. Their power is totally destructive as they methodically begin to disintegrate battle tanks, gun ships, and even jet aircraft. It looks, as though human civilization is doomed to die and man is helpless to stop them. There's no doubt that the star of this film is the special effects, orchestrated by Gordon Jennings who won an Oscar, and although they sometimes look cheesy and dated by our standards, they are still pretty impressive considering the limitations of 50's film technology.

The film opens with a sobering commentary by Cedric Hardwicke. While giving us a miniature journey through the solar system, he also tells us that the Martians are on the verge of extinction, and are stranded on a dying planet, and that their only hope for survival is by conquering and inhabiting Earth. In a carefully designed plan to carry out their mission groups of three pod-like, cylinder spacecraft fall from the sky in different parts of the world. One cylinder falls on a small town in Southern California about 30 miles from Los Angeles.

A leading atomic scientist from Pacific Tech., Dr. Clayton Forrester (Gene Barry), is vacationing in the area, and joins the crowd of curious onlookers. He also strikes up a romantic friendship with a teacher, Sylvia (Ann Robinson), the niece of Parson Collins (Lewis Martin). The couple decides to go square dancing while waiting for the meteor-like object to cool down before the scientist begins his observation. But the Martians descend from their spaceship and zap the three locals guarding the area. The Martians also cut the town's electrical power and telephone lines.

The military is soon called in and when the Parson, believing he can reason with the aliens is also zapped, the Army blasts away with all its modern weapons of mass destruction. The Martians, however, have an electronic shield around their space vehicles and human weapons have no effect, even the atom bomb can't penetrate their force field. The alien attack soon begins on Los Angeles and the evacuation of the city causes a great panic. Barry is disappointed with the selfishness of humanity, and fighting through a crowd of rioters, tries to be reunited with Ann in the church she sought shelter in before the world ends.

The acting is mostly terrible, especially Ann Robinson, who resorts to tepid histrionics whenever she can. Barry is pretty good though and he has enough charisma to carry the film. There are some wonderful shots of downtown 1950's Los Angeles, including City Hall (which was then the tallest building), L.A. County General Hospital, the Federal Building, and the old Gaol.

The Martian spaceships a suitably menacing and sinister, except occasionally one can glimpse the wires, and the final onslaught on Los Angeles is full of fiery pyrotechnics as the alien fighting ships zap all the buildings, including the pyramid that sits atop City Hall. In the finale, the producers could probably be forgiven for tacking on all the religious mumbo jumbo, because up until then, The War of the Worlds is quite involving entertainment, and is a great and absolutely perfect example of classic sci-fi cinema. Mike Leonard April 05.