The 1956 film Invasion of the Body Snatchers has been variously interpreted as an allegory against Communism or McCarthyism. However, both Don Siegel (the director) and Kevin McCarthy (the lead actor) have stated that the film is not a political allegory, but rather a psychological metaphor about the preciousness of human emotion and the dangers of conformity. It is the personal belief of the essay writer that this is true as the themes of Invasion of the Body Snatchers strangely mirror those of Gnosticism. In this essay, I will argue that somehow Don Siegel knew the secrets of Gnosticism and encoded them into his classic film.
To understand the key concepts in Invasion of the Body Snatchers, it is important to first understand who the Gnostics were. According to Comparative Mythologist John Lamb Lash, the Gnostics were Pagan Intellectuals of the ancient Mystery Schools of Europe and the Near East who sought to understand divine matters through direct spiritual experience. In his book Not In His Image, Lash recounts how the Gnostics saw the dangers of the salvationist ideology fundamental to both Judaism and Christianity that emerged in the first three centuries of the Common Era. The Gnostics sought to challenge the new Christian religion by breaking their vows of silence and exposing the foundations on which the Judeo-Christian religion was built. However, in the words of John Lash, “what they were not prepared for was the ferocity and the fanaticism of the believers” (Weidner, 2009). This was illustrated in 415 CE when the Pagan teacher of Alexandria, Hypatia, was murdered by a Christian mob on the orders of Bishop Cyril, who called her “a vile heretic and a witch who beguiled people through her beauty and her teachings, which were nothing but the wiles of Satan” (Lash, 2006, p.4). Hypatia’s death, along with the destruction of the Library of Alexandria in 391 CE, formally brought about the Dark Ages.
What drove the Christians to murder the Gnostics and destroy Pagan centres of learning? And what was so dangerous about Christianity that forced the Gnostics to speak out against it? According to the German philosopher Friedrich Nietzsche, Christianity defines morality and its connection to the God of the Bible as a master-slave relationship that is rooted in resentment of the raw beauty and power of the life force. (Lash, 2006, p.xi). In his book, Thus Spoke Zarathustra, Nietzsche urges the reader to discard the teachings of the church and instead create a new meaning of life through direct communion with the Earth. He writes, “I entreat you, my brothers, remain true to the earth, and do not believe those who speak to you of superterrestrial hopes! They are poisoners, whether they know it or not” (Nietzsche, 1969, p.42). In Paganism, life was associated with the Earth, which the Gnostics revered as a divinity known as Gaia/Sophia.
According to the Gnostic creation myth, Sophia was the name of a goddess from the Pleroma, located at the centre of the Milky Way Galaxy. In this myth, Sophia, and her divine consort, Thelete, created the blueprint for humanity through their innate faculty of epinoia, which is imagination. After creating this blueprint, Sophia became so fascinated by the Anthropos species she had created that she fell from the Pleroma and became separated from her consort and morphed into the planet Earth, becoming known as Gaia. According to John Lash, “This is a world where one particular strain of the Anthropos (current humanity) now proceeds to live out the potential endowed in it by Sophia and Thelete, thus to demonstrate human novelty on earth” (Lash, 2006, p.160). What this human potential is exactly will be elaborated upon later in this essay.
The Gnostic creation myth also says that the fall of Sophia from the Pleroma created a freak species known as the Archons. According to the Gnostics, Archons are extraterrestrial parasites that infect the minds of humans by promoting the redeemer complex found within many salvationist religions. The redeemer complex is basically the idea that humans are inherently flawed and evil creatures who can only be good by being saved through a super-human agency. In Christianity, this is expressed in the person of Jesus Christ, who boasts that “I am the way and the truth and the life. No one comes to the Father except through me” (John 14:6 TNIV). The Pagans and Gnostics refuted this accusation as pathologically dangerous as they detected within it a program that deviates humanity from coevolving and having a living, conscious connection with the Earth. According to John Lash, the Gnostics viewed Jesus Christ as a counter mimic, meaning “to copy something but make the copy, the fake version, serve a purpose counter to the original thing or idea” (Lash, 2006, p.114). In Invasion of the Body Snatchers, this is what the extraterrestrials, colloquially known as the Pod People, do, which is why I am arguing in this essay that the Pod People are really the Archons [Because Dr. Steven Greer has shown that there is no evidence that extraterrestrials are hostile towards humanity, it is more realistic to think of the Archons as interdimensional entities or unconscious aspects of the human psyche. According to Laura Eisenhower, the Gnostic creation myth is also allegorical, with the fall of Sophia and the creation of the Archons representing the splitting of our masculine and feminine sides and the creation of the negative ego. However, because this essay is about what the Gnostics believed, the Archons and Pod People will be dubbed an extraterrestrial race for convenience sake. - BB].
Invasion of the Body Snatchers is based upon Jack Finney’s 1955 novel The Body Snatchers. While there are similarities and differences between the film and the novel, let us begin with a description of the film’s plot so we can place everything into context. The story begins on 13 August 1953 with Dr Miles Bennell (Kevin McCarthy) returning home to Santa Mira, California, from a medical conference. He is met by his old flame, Becky Driscoll (Dana Wynter), who tells Miles that her cousin, Wilma, has a delusion where she claims that her Uncle Ira is not really her Uncle Ira. After suggesting that Wilma see a psychiatrist, Miles takes Becky out to dinner to rekindle their romance before being called to the home of his friend, Jack Belicec (King Donovan) and his wife, Theodore Belicec (Carolyn Jones). Once there, Jack shows Miles and Becky “a half-formed body on their basement pool table, that is growing into an exact double of Jack” (Stacy & Syvertsen, 1983, p.38). After being dismissed by the police, the four return to their everyday lives before finding alien pods growing within their greenhouse. They discover that when these pods are placed near sleeping humans, they take over the life force and dispose of the now-dead victims [The symbolism of the seed pods is likely a reference to the fact that human existence has much in common with plants: we are born, grow, reproduce, and die. The Gnostics viewed the Archons as a cousin species to the human race, despite the latter being endowed with the attributes of the Pleroma - BB].
After disposing of the pods, Miles, Becky, Jack, and Theodore then attempt to flee Santa Mira and call for help as the town is taken over by the Pod People. The four are eventually captured, with Jack and Theodore turned into unfeeling Pod People. Miles and Becky learn that the Pod People are an extraterrestrial race who have travelled through space and landed on Earth, where they can replicate any lifeform but are completely devoid of emotions and individuality. Miles and Becky manage to escape but are pursued by the Pods, who chase them into a cave on the outskirts of Santa Mira. They struggle to stay awake, but when beautiful music is heard, Miles leaves Becky to investigate. When he returns, Becky has become a Pod Person and screams, “He’s in here! He’s in here! Get him! Get him!” (Siegel, 1956). Miles flees to a highway, where he is captured by the police and interrogated by a psychiatrist. They don’t believe his story until word comes that a truck full of pods has overturned on the highway from Santa Mira. The police call the FBI and hope it is not too late to stop the Invasion of the Body Snatchers.
This ends one of the greatest and most popular science fiction films ever made. While the film is largely faithful to the novel it is based on, one of the main differences is the ending. In Jack Finney’s novel, after Miles and Becky escape from the Pod People in Santa Mira, they hide in a field until dark when they discover hundreds of pods growing on the ground around them. They both then coat all the pods with gasoline and set them on fire, which convinces the Pod People that they cannot overcome the spirit of humanity and leave for other worlds to settle on. While this is a big departure from the 1956 film, which has a more pessimistic ending, Finney’s ending demonstrates humanity’s ultimate triumph over the Archons. In the Gnostic creation myth, the Archons coalesce around a single figure known as the Demiurge, whom the Gnostics equated with the Judeo-Christian God, Yahweh. The Goddess Sophia shames the Demiurge and states that humanity is superior to him and predicts that a luminous child will appear and overcome all the works of the Archons [Fans of Stanley Kubrick’s 1968 film, 2001: A Space Odyssey will recognise the luminous child of Gnosticism with the Star Child which appears at the end of the film. As revealed by Jay Weidner in his 1999 article, Alchemical Kubrick, 2001 is the Great Work of Alchemy on film - BB].
This luminous child is the only way humanity can overcome the Archons. In alchemical lore, this luminous child is birthed through the hieros gamos or sacred marriage, which involves the sacred union between our masculine side, known as the Red King, and our feminine side, known as the White Queen. It is a love story that takes place within us. When we reconnect with beauty and sentimentality in our lives through the arts, it not only restores our soul and spirit, but it restores the land, as we are conduits of spirit, and we are connected to the Earth. This is very threatening to the Archons because, as explained by Laura Eisenhower, “the union of the masculine and feminine is so incredibly powerful that as long as these Archonic forces can keep division, then it is easy for them to control us as a humanity” (5DTransitions, 2013). The luminous child is the end result of the Great Work of the Philosopher’s Stone, which is a term used by alchemists for love.
Throughout 1950s science fiction cinema, there is a recurring theme of human emotion either overcoming the forces of darkness or in danger of being suppressed by it. Invasion of the Body Snatchers belongs to the latter definition, as we will see, but there is another science fiction film from 1956 that plays upon the idea of emotion being a precious thing when confronted with conformity. In It Conquered the World, a disillusioned scientist (Lee Van Cleef) invites an alien from the planet Venus to bring peace to the Earth and save humanity from itself. However, the scientist is blind to the fact that the Venusian (colloquially known as the Cucumber Creature) wants to take over the Earth at the expense of human liberty and emotion. When both the scientist and the Venusian are killed at the film’s climax, another scientist (Peter Graves) arrives too late to save his friend and explains that:
“He learned almost too late that man is a feeling creature and because of it, the greatest in the universe. He learned too late for himself that men have to find their own way and make their own mistakes. There can't be any gift of perfection from outside ourselves. And when men seek such perfection, they find only death, fire, loss, disillusionment, and the end of everything that has gone forward. Men have always sought an end of toil and misery. It can't be given; it has to be achieved. There is hope, but it has to come from inside: from man himself" (Corman, 1956).
Although the last line is somewhat vague, my own personal interpretation of it is that we need to find peace and security within ourselves first before we can solve the problems of the outer world: "As within, so without" as the Law of Correspondence states.
Another film that focuses on the ability of human emotion to overcome the forces of darkness is The She-Creature, which was released as a double feature with It Conquered the World. In the film, a woman named Andrea Talbott (Marla English) is the assistant of carnival hypnotist Carlo Lombardi (Chester Morris), who controls her through his occult powers. Lombardi uses Andrea to summon one of her past lives, the She-Creature, to murder his enemies and demonstrates his power over Andrea at hypnotic regressions conducted for the rich. She is a slave to his will. However, when Andrea meets and falls in love with a psychic investigator named Ted Erickson (Lance Fuller), she gradually gains the ability to surmount Lombardi’s hypnotic powers over the course of the movie. At the climax, when Lombardi orders the She-Creature to kill Ted, she can’t do it and uses her own willpower to order the monster to mortally wound Lombardi. Just before he dies, Lombardi goes to Andrea’s side and says:
“You couldn’t kill the man you loved. I mustn’t let you die; your beauty must live. I will touch you and you will awaken young and beautiful, freed forever from the past. What I have done, no man can ever do” (Cahn, 1956).
The essential message of The She-Creature is that the power of love can overcome occult forces. This beautiful concept reminded me of what the Chinese philosopher Lao Tzu says in the Tao Te Ching. He says in Chapter 67, “Love vanquishes all attackers, it is impregnable in defence. When heaven wants to protect someone, does it send an army? No, it protects him with love” (Dyer, 2008, p.137). Sadly, many betray their humanity and devalue love and spiritual principles as they allow life to make them bitter and resentful. In Invasion of the Body Snatchers, Miles tells Becky, “In my practice, I have seen how people have allowed their humanity to drain away. Only it happens slowly instead of all at once. They didn’t seem to mind…We harden our hearts and grow callous. Only when we have to fight to stay human do we realise how precious it is to us, how dear…as you are to me” (Siegel, 1956). From my own experience, I have seen certain individuals become completely selfish and only care about money and worldly success at the expense of other people’s feelings and values, whether they realise it or not.
One of the central themes of Invasion of the Body Snatchers is the preciousness of human emotion and that life is not worth living without it. This is exemplified in the film when Becky tells Miles, “I want to love and be loved. I don’t want to live in a world without love or grief, or beauty. I would rather die” (Siegel, 1956). This is after the Pod People state that life without human emotion would be much simpler and less troubled. However, in Twilight of the Idols, Friedrich Nietzsche states that “an attack on the roots of passion means an attack on the roots of life: the practice of the church is hostile to life” (Academy of Ideas, 2017). In Not In His Image, John Lamb Lash explains that for Christianity to emerge victorious, it had to radically disrupt the gender harmony established in Europe for thousands of years. Ancient European societies lived under Partnership social structures, and as explained by Lash, “gender relations had to be violently disrupted so that the new program of divine redemption could prevail” (Lash, 2006, p.43). This is because the Christian Church knows that if men and women were embodying sacred union, we wouldn’t need it.
As stated in the introductory paragraph, while Don Siegel denied that Invasion of the Body Snatchers was a political allegory, he did admit that the film had an existing allegorical subtext. In an interview, he stated, “I felt that this was a very important story. I think that the world is populated by pods and I wanted to show them. I think so many people have no feeling about cultural things, no feeling of pain, of sorrow" (Susannah & Debra, 2023). By cultural things, Siegel refers to the arts, which, according to the Neoplatonists of the Third Century CE, was a medium that the soul could express itself through. In other words, the transformation of the human spirit, from the mundane to the angelic, could only occur through great works of art, which is why Gnostics like Hypatia taught the arts in the Mystery Schools. The Gnostics themselves refrained from assuming any role in politics “because their intention was not to change society but to produce skilled, well-balanced, enlightened individuals who would create a society good enough that it did not need to be run by external management" (Lash, 2006, p.148). While Invasion of the Body Snatchers speaks to the themes of conformity and individuality on an allegorical level, it also fulfils its function as a great work of art in its own right.
In his 2010 article, Signs of the Times: Gnosticism Then and Now, Richard C. Cook explores the history of Gnosticism, particularly its influence on modern spiritual teachers. While Cook is like many scholars and believes Gnosticism arose within the confines of Christianity, he acknowledges that Gnosticism is not an “alternative religion” but an alternative to religion. He writes:
“Matters have come full-circle [sic], for the type of contemplative practice that is being spoken of and demonstrated by many teachers and spiritual groups today is, in fact, Gnosticism for modern times. This is why many people identify as “spiritual but not religious.” We want to experience the joy and peace of divine consciousness directly in our own hearts and souls, not indirectly through churches, rituals, or priesthoods. We want to experience our own holiness, not be told it can only be found through something or someone outside ourselves (Cook, 2010, p.61).
This direct experience threatens society's secular and religious elite, who seek to control humanity through statecraft and social engineering because they believe that humans are not inherently good enough to create a humane society without external rules and controls. This view was totally repugnant to the worldview of the Gnostics, who sought to help foster human potential through consecration to Sophia and never interfere in social management. As stated by Cook, “materialism will never succeed in stamping out spiritual aspiration, because at bottom man is a spiritual being" (Cook, 2010, p.62).
The Gnostics taught that the Goddess Sophia endowed humanity with an enormous latitude to play and experiment with models. However, the Gnostics also warned against giving our humanity away to the Archons, who envy us and want to become like us. According to John Lash, if the Archons had a plan, their greatest achievement would be to create a clone that resembles a human being. John Lash identifies this clone as the biblical priest Melchizedek, who initiated Abraham in 1800 BCE. According to Saint Paul, Melchizedek is the power behind Christ and is “Without father or mother, without genealogy, without beginning of days or end of life, resembling the Son of God, he remains a priest forever” (Hebrews 7:3 TNIV). In Sophia Returning, John Lash refutes this claim, saying we are “self-regenerating cells in the body of Sophia. We are not meant to be a statue that never changes” (Weidner, 2009). In other words, as long as we remain true to the Earth, we are immortal within Sophia, but we are not immortal in the static form, which, like Melchizedek, never changes.
In Invasion of the Body Snatchers, Becky’s cousin Wilma detected this program in her Uncle Ira, stating to Miles, “There is no difference you can actually see. He looks, sounds, acts, and remembers like Uncle Ira” (Siegel, 1956). Wilma goes on to identify that “There is something missing…there’s no emotion: none. Just the pretence of it. The words, the gesture, the tone of voice, everything else is the same, but not the feeling!” (Siegel, 1956). John Lash states that this is because the Archons lack ennoia, or intentionality, and therefore they “cannot originate anything, they can only imitate, and they must effectuate their copycat activity with subterfuge and stealth, lest its true nature be detected” (Lash, 2006, p.115). The Gnostics identified this as one of the main operative forces behind evil, which is to kill imagination and leave us vulnerable to the influence of the Archons. As John Lash explains in Not In His Image, the ‘triumph’ of the Archons:
“Would be achieved at the stage of human experience where no one can tell plastic from pearl, and imitation is so prevalent that a genuine human animal feels like an alien on the home planet. At that point the human species would be so falsified that we would not even be able to distinguish real people from soulless clones" (Lash, 2006, p.117).
In the ancient Mystery Schools, the Gnostics distinguished between error and evil. According to the Gnostics, the difference between error and evil is that when humans commit an error, it is a mistake that can be learned from and corrected. In contrast, error becomes evil when it goes beyond the scale of correction. In his book, The Divine Milieu, Pierre Teilhard de Chardin defines evil as anything that saps or obstructs our physical and spiritual energies, hindering our ability to feel and experience love. Teilhard defined these diminishments as things both internal (personal failings) and external (the actions of others) and lamented the fact that “What is terrible for us is to be cut off from things through some inward diminishment that can never be retrieved” (Teilhard de Chardin, 1971, p.81). According to John Lamb Lash, the Archons are partly responsible for turning error into evil but points out that, “The illumined teacher does not say Archons are evil, but that they lack love and goodness (attributes considered to be innate to humanity, as we have seen in considering Pagan ethics), so their influence on humankind is bound to be deviant” (Lash, 2006, p.287-88).
If this essay has not already convinced the reader that Invasion of the Body Snatchers is both a Gnostic and an anti-conformist allegory, I would like to mention two further pieces of evidence. According to the 1996 Concise English Dictionary, a conformist is “one who conforms to established rules, standards, etc; compliance with the rites and doctrines of an established church.” This is clear evidence that the film has a strong pro-Gnostic and anti-Christian message. In addition, Dana Wynter revealed in an interview with Tom Weaver that Don Siegel and Walter Wagner (the film’s producer) were making an “anti-ism” type film. As she stated in the interview:
“We took it for granted that’s what we were making, but it wasn’t spoken about openly on the set or anything like. Those were delicate times, and I think if Allied Artists had had the slightest idea that there was anything deeper to this film, that would have been quickly stopped!” (Bohus, 2020, p.68).
In Not In His Image, John Lamb Lash explains that the Archons insinuate their influence through ideologies, particularly religious and scientific belief systems, because such beliefs have the greatest impact on how we view ourselves and human potential (Lash, 2006, p.117). Indeed, in both Jack Finney’s novel and the 1956 film, the spread of the Pod People is described as a disease or virus, “because of the way it is experienced – and described – as a kind of sickness” (Finney, 2010, p.viii). This is exactly how the Romans described the spread of Christianity within the empire during the First Century CE. In 50 CE, the Roman Emperor Claudius wrote to the Jewish community in Alexandria, warning them of extremist cults in Palestine and that they were accessories to “a pest that threatens the entire world” (Lash, 2006, p.92). Claudius was not attacking the Jewish people but rather the apocalyptic ideology inherent in Judeo-Christian teaching that had festered in Palestine since the Second Century BCE.
The Gnostics criticized two aspects of Christian teaching that they saw as delusional and dangerous: that pleasure is evil, and that suffering has a redemptive value. Pagan philosophers like Epicurus defined pleasure as the experience of happiness and the elimination of mental and physical pain (Stoke, 2010, p.29). To paraphrase John Lash, the pleasure bond is essential to our species because we heal, learn and love through it (Weidner, 2009). The Pagans viewed the Christian teaching that suffering has a redemptive value as insane because when you elevate suffering to a transcendent level, you cancel out pleasure. The Christians claimed that their god had a unique way of overcoming suffering, writing that at the end of time, “He will wipe every tear from their eyes. There will be no more death or mourning or crying or pain, for the old order of things has passed away” (Revelation 21:4 TNIV). This parallels the scene in Invasion of the Body Snatchers where Miles overhears his nurse Sally, who has become a Pod Person, tell another to put a pod near a baby so “there will be no more tears” (Siegel, 1956). This promise of eternal deliverance from suffering was particularly convincing among the slave population of the Roman Empire, who were some of the poorest and most wretched people living within it.
When the Gnostics saw the belief system of the Christian messiah spread among the slave population of the Roman Empire, they broke their vows of anonymity in 150 CE to challenge the Christian faith by exposing it at its roots. In Sophia Returning: The Path to Planetary Tantra, John Lamb Lash explains that one of the Gnostics’ main arguments against Christianity was that their God is insane and works against humanity like a virus does (Weidner, 2009). Just as a virus needs to survive by multiplying and spreading to different hosts, the salvationist virus spreads by infecting people’s minds and spirits through coercion and evangelization. It is my personal belief that this is what Miles Bennell was trying to warn us about in Invasion of the Body Snatchers when he shouts at the camera during the film’s climax, “You’re in danger! Can’t you see? They’re after you! They’re after all of us! Our wives, our children, everyone! They’re here already! You’re next! You're next!” (Siegel, 1956).
Many people often ask, “If this is all true, isn’t Christianity supposed to be a religion about love and forgiveness?” On the surface, it appears to be, until we begin to ask the question, “What is the hallmark of love?” I would argue that one of the hallmarks of love is coexistence, and you see time and time again how nasty and intolerant of other views Christians can be. One must only look at the last two thousand years of history: anyone who spoke out against the church, as the Gnostics did, was killed. Many liberal Christians would argue that extremist members of their faith do not represent the principles they invoke, such as love, forgiveness, peace, and tolerance. The only problem with that argument, however, is that the extremists maintain that they are the true believers who are enacting the will of God. In 2003, for example, US President George Bush claimed that the Christian God guided his political decisions regarding the invasion of Iraq. As explained by John Lamb Lash, “History shows that the religious ideals attached to salvation narrative have consistently been used to legitimate violence, rape, genocide, and destruction of the natural world” (Lash, 2006, p.238). In other words, Christianity was, and still is, about fear and control of the masses.
As my final piece of evidence that Invasion of the Body Snatchers is a Gnostic allegory, I would like to point out that John Lamb Lash refers to the film in his book, Not In His Image. In his section entitled “Suggestions for Reading and Research: Contemporary Literature and Culture”, Lash lists modern works of art, literature, and films that contain Gnostic ideas. Besides films such as 2001: A Space Odyssey and The Matrix, Lash goes on to identify that “Other sci-fi classics such as Invasion of the Body Snatchers also play on the threat of Archontic substitution” (Lash, 2006, p.424). As mentioned above, the Gnostics saw the salvationist ideology inherent in Christianity as a virus that infects humanity through conversion and coercion. In the film, Miles Bennell states that Becky’s body was now a host, “harbouring an alien form of life, a cosmic form, which to survive must take over every human man” (Siegel, 1956). Ultimately, any salvationist belief system has the potential to transmit the ideological virus of the Archons because the Archons are working against humanity’s relationship to the earth and each other.
Invasion of the Body Snatchers has been interpreted as a political allegory against Communism and McCarthyism. Since the release of the film, however, Don Siegel and Kevin McCarthy have stated that the film is actually a psychological metaphor for the dangers of conformity. In this essay, I have argued that this is true and that the film’s message is consistent with Gnosticism. Ultimately, Don Siegel somehow knew the secrets of Gnosticism and encoded them into one of the greatest science fiction films ever made.
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