"The settlement after the next world war", wrote H.G. Wells in 1939, "will be only a prelude to further conflict. Informal warfare will succeed the formal struggle. What else can happen?"

"History never repeats itself, ecological processes are irreversible, and there are many considerations which make it improbable that the new barbarism which is coming upon us will have even a material resemblance to the barbarism of sixteen centuries ago. It will be much tougher," said Wells, in The Fate of Man, "with a livelier and wicked intelligence, and it will retain a far more destructive equipment."

Remembering that it was H.G. Wells who first introduced the idea of an alien species invading this planet -- in his novel, The War of the Worlds -- his skill and ability to predict trends and developments, as laid out in The Fate of Man (1939), must be reconsidered and even celebrated. However, it must be said that Wells' The Invisible Man has been been deployed as a film vehicle some seventeen times, with an additional five 'made-for-TV' movies built upon it as well. The bigger, and more ponderous, theme of an alien invasion has been filmed only one time, in a version that is even somewhat faithful to Wells' storyline.

The connection here is that "War of the Worlds" and the other most famous science-fiction movie of the 1950's, "Invasion of the Body Snatchers" both take place in California, the "golden republic" facing the Pacific Ocean. Both movies can be seen as representing the power structure then dominant in Hollywood, but as propaganda vehicles they are completely different and they carry radically different messages for target audiences.

Filmed in color with many expensive special-effects, "War of the Worlds" represents the last grasping attempts to hold on to the triumphant military posture of the War for Greater Serbia (Part Two), otherwise known as the Second World War. Everything about this movie speaks of the war machinery and cultural premises that ground to a halt in the frozen hills of Korea. And curiously, in replicating those values, the producers of that movie tacitly admitted that the technology of artillery, tanks and massed troops was wholly inadequate against forces deployed with electro-magnetic defensive screens and special "beam" weapons. The Martian aliens are defeated by our native-born bacteria.

Filmed in black & white with virtually no special effects, "Invasion of the Body Snatchers" represents something entirely different in the way of war machinery and cultural arrangements. Having recently conducted an intensive study of this film, I have come to the conclusion that it represents Propaganda for the Resistance of Freemen. "Invasion ..." was either explicitly tailored to instruct the average citizen on how to fight the New World Order, or it somehow contains an extraordinary number of coincidentally helpful messages.

In 1939 H.G. Wells wrote "it is true that, in spite of much human inconsistency, much confused thinking and many local abuses, there is still a powerful disposition throughout all the Atlantic and Scandinavian communities towards liberty, equality, and world brotherhood. It breaks out in literature, discussion and conduct. It expresses itself plainly in books, spontaneous press writing, plays and films. This is most manifest in America and there is in consequence a growing disposition of the British authorities to intercept and censor the too-outspoken American weekly press."

Walter Wanger's extraordinary science-fiction movie, "Invasion of the Body Snatchers" (1956), as directed by Don Siegel, contains a plethora of clues to understanding the present-day offensive against the free peoples of the world, by the New World Order.
And, it is highly curious that the Really Useful Idiots of the New World Order -- the trendy culture critics, liberal professors, and the Red sociopaths of the New Left in academia have been largely responsible for deploying this weapon against the New World Order! They have elevated "Invasion ..." from a cult attraction to a cultural icon (for the wrong reasons).

In an interview given long after the movie had attained its cult status, the principal player -- Kevin McCarthy as Dr. Miles J. Bennell -- stated unequivocally that the author of the original story, Walter Braden "Jack" Finney, did not consider his tale of alien pod-creatures who replicate and replace human beings as being a cautionary tale about communism or McCarthyism. "Invasion ..." is not a protest. Period.

That statement hits the careful analyst like a Talibani rocket from the camp of Osama bin Laden. The New Left has for many years "trumpeted" this movie as being the essential Hollywood protest against McCarthyism, black-listing and the conformity of the 1950s. They teach this as an article of faith, as their secular dogma, on the college campuses where they create and reinforce the "herd mentality" which has been spoken of here, lately, on Rumor Mill News. They have been selling a lie and teaching lies, which is consistent with their role -- the New Lefties -- as Really Useful Idiots. But they have been played.

Just as there are gaps in the true history of the world, and gaps in the true history of the United States, it now seems evident that "Invasion of the Body Snatchers," also once called "Sleep No More", fills in a gap as an historical fiction or allegory.

Turning to the Art of War by Sun Tzu -- "The ultimate in disposing one's troops is to be without ascertainable shape. Then the most penetrating spies cannot pry in nor can the wise lay plans against you."

The enemy encountered in the proto-American town of Santa Mira are the aliens, pod-creatures who are "without ascertainable shape" until they take over a living human being. They replace the original person with a cloned replica, one that is devoid of all human feelings and emotions, and perfect for incorporation into an army of invasion. How better to conduct "informal" war?

Of course, in the movie the alien invaders take over the phone system, the police station, the farms and the hardware store, first: but their key acquisitions are -- the physicians. There are apparently four general practice physicians in Santa Mira, and one psychiatrist. But it is he who proves to be the most powerful officer of the alien invaders, disarming the suspicious townspeople with 'snake oil psychology,' until enough new pods can be grown to replace each and every one of them. His weapon is invisible, it is persuasion or 'mind control.'

I have come to the conclusion that the texture of the movie itself delivers the punches, and that the final cut of the movie -- made against the wishes of its director, Don Siegel -- was implemented to make it a more powerful propaganda weapon. To give it enduring qualities and emotional appeal, even though the added scenes seem hokey and contrived. Because "Invasion of the Body Snatchers" stands as an American cinema novella of unimaginable depth and exquisite stylings, I have searched the film for visual and textual clues. They are abundant.

A bust of Abraham Lincoln is prominent in the background as Dr. Bennell attempts to calm young Jimmy Grimaldi, who is almost killed by running in front of the Doctor's car in the second sequence of the movie. He is running away from his own mother, who is the co-owner of the local produce stand and farm.

Jimmy protests loudly that she isn't his mother -- "don't let her get me!!" He wails plaintively while being restrained by his grandmother. It is in this scene that we see suspicion begin to fill Dr. Bennell's mind. It is in this scene that we see his bona fides established: the loving grandmother places absolute confidence and trust in his judgement, he is identified as the Philosopher, yet he wears the fedora of the modern '50s warrior.

It is in this scene that the movie translates Finney's morality play, as set in northern California, into the Everyman of the Golden Republic, with a distinct southern California bias. Dr. Bennell, shocked by the boy's panicky reactions, goes directly into action. He does not equivocate or stop to ponder the consequences. His "business is people in trouble," as he tells the cousin of the film's leading lady Becky Driscoll (as played by the ravishing Dana Wynter). Wilma Lentz presents the same extraordinary symptoms of delusion and fear that the doctor had seen in the little boy. She believes that her uncle Ira, who had raised her from infancy as a father -- is now an impostor.

Later in the movie, after a long and tumultuous night, Dr Bennell encounters Wilma outside her antique shop: she is now "normal" and professes chagin at being so sure of her fears on the previous day. In the scene which follows, the pod-replacement for Wilma tells the replacement for Becky Driscoll's father where his "daughter" is staying -- at Dr. Bennell's.

There too, the careful analyst must take note of other clues embedded in this movie: there are only five businesses with names included in the backgrounds of this film story, as important fixtures: Grimaldi's farm stand, Santa Mira Drugs, Bill Dawson's Service (a gas station), Pete Bal Used Cars (seen in a fleeting glimpse), Wilma's shop, Le Grifon (an alternate French spelling of 'the Griffin,' or Le Griffon), and a large store bearing the name -- MAJESTIC.

The casual observer would not notice the bust of the Great Emancipator in Dr. Bennell's office, but it is a cinematic device designed to establish the doctor -- by assocation -- as an opponent of slavery. Why was the scene with the Majestic store included at all, in the montage of police action scenes that connect Bennell's discovery of the depth of the alien's plotting to his successful escape, with Becky, from their clutches? I can testify that their temporary escape has power and a moral force that is awesome, emotionally gripping, and soul-satisfying. It is after that, hiding out in his offices, that he and Becky pledge their love to each other, and thereby establish their humanity! It is the things of the heart and of the spirit that matter in the struggle against these alien invaders. There simply is nothing in this movie, no scene or background, that isn't important. The looks, the cinematography, the music. That is how carefully crafted it was, and is, and remains!

"Whichever side emerges at any particular phase as victorious," said H.G. Wells regarding the world war imminent in 1939, "is really a secondary issue. The practical loss of freedom, the usurpation of controls, seems inevitable."

"It is an oligarchy skillful in the assimilation of useful or formidable individuals", writes Wells of the British ruling class that he knew so well, "but without the slightest disposition to amalgamate with anything else on earth. Its ruling motive is the fear of dispossession."

How curious that this indictment of the British aristocracy fits perfectly as a description of an alien hybrid invasion force, one which replaces living humans with pod-created clones.

Should the recent postings concerning pre-1947 encounters or events involving alien creatures, UFO sightings, and more prove to be reliable, that means that Jack Finney had at least thirteen years to find out them (by whatever means he may have had at his disposal), with another two years for Walter Wanger to obtain the rights to his serialized story (in one of those American weeklies feared by the British, Collier's). Entering into this as pure speculation, it is nonetheless true that between 1947 and 1956, three important and successful movies were made in Hollywood, all on the theme of alien invasions!

Turning again to Sun Tzu, we can summarize the lessons of "Invasion ..." for those resistance forces who oppose the New World Order and its apparent lust for global slavery:

"Therefore, determine the enemy's plans and you will know which strategy will be successful and which will not;

"Agitate him and ascertain the pattern of his movement.

"Probe him and learn where his strength is abundant and where deficient.

"Thus, I say that victory can be created. For even if the enemy is numerous, I can prevent him from engaging."

The final sequence of Don Siegel's cut of "Invasion ..." has a bewildered and disshevelled Dr. Bennell shouting "They're here!" in the midst of a southern California traffic jam, and then discovering a truckload of new pods being taken out of Santa Mira to points distant. It was entirely too grim for their test audiences and Wanger forced changes in the movie, obtaining two great character actors -- Whit Bissell and Richard Deacon -- to play the emergency attending physician and the head of the State Mental Hospital, who interview Dr. Bennell at the beginning and at the ending of the movie. New Left critics have scorned these additions as being hokey and superfluous. They are wrong.

The added scenes, when matched to Jack Finney's assertions that his story was never intended to be a sermon about McCarthyism, clearly establish the intent of Walter Wanger to turn "Invasion of the Body Snatchers" into a fearsome weapon, a propaganda vehicle, and not to leave it as a B movie filled with snide, jaded humor and a darkly pessimistic ending. His cuts enraged Siegel -- who was rightly famous for being skilled -- but it also established the crucial importance of this film. Wanger most certainly wanted it to make money, but it was wildly successful, beyond what either he or Siegel ever anticipated.

And it is the cautionary scenes added by Wanger, and his cuts of certain parts where Siegel's black or morbid sense of humor was displayed, that made this film what it is today -- a sci-fi classic, a vehicle of unimiaginable power, a propaganda weapon that urges the average citizen to be aware, to be suspicious of glib authoritarians, to oppose the seditions of aliens and the New World Order with love, affection, and the power of their own spirit and spiritual knowledge.

"Invasion ..." has been remade twice, and neither one of the subsequent versions have any of the story-telling power of the original. They are merely interesting.

"The British ruling class is shy of ideas and imaginative creation, it dreads and hates what it calls highbrow conversation," said H.G. Wells in 1939. "They chose to think that liberty means nobody doing any work, that equality means bringing the housemaid into the drawing-room and sitting her down to play the grand piano ... and that fraternity means embracing extremely unwashed -- untubbed -- people."

And finally -- it is important to remember that in the end, Becky Driscoll, after five years in England and looking so much like a sister to Liz Taylor, so cool and glamorous -- succumbs to the alien process and betrays her life-long friend (and erstwhile lover) -- Dr. Miles J. Bennell. Those who are patriots, or who are simply suspicious enough, will see the crux of Wanger's allegory here, at this juncture. Great Britain, the rich and beautiful cosmopolitan sister to the United States, has and will continue to betray the land where physicians are Warrior Kings.

Therefore Sun Tzu said: "Know the enemy and know yourself; in a hundred battles you will never be in peril.

"Hence what is essential in war is victory, not prolonged operations, And therefore the general who understands war is the Minister of the people's fate and arbiter of the nation's destiny."

Movies are essential elements of popular culture, which is where one finds the new battlegrounds, and where one sees the new barbarians winning as they pollute the culture with their blatant use of sexual license, their addiction to meaningless violence, and their obsession with demons, devils and Satanism. Truly, a good film can be analyzed as a weapon of mass destruction: it simply remains to determine who and what people are its targets.

In understanding the war against the New World Order, it helps to understand that physicians are the best officers for this new kind of "informal war." That is the moral in the allegory of "Invasion of the Body Snatchers." It is a true, and useful lesson, in my personal opinion. And, it is a great club to use against the New World Order.