February 2022 – Page 10

"IN COLOR. A Quinn Martin Production." Who could possibly forget that tagline?

I was eight years old when this series originally aired on ABC. My dad was absolutely enthralled with it, but I just couldn't get into it. There were no monsters, so my interest quickly waned. As I recall it came out during the second year of Lost in Space, which I absolutely adored. The Invaders was no substitute for "Danger, danger, Will Robinson!"

For some reason The Invaders has been on my mind lately, so after checking if it was available to stream somewhere (it wasn't) I dropped $40 on the complete series on DVD and started watching last night. Four episodes in, and I have a few observations…and questions!

First of all, it's a quintessential 60s drama series. Everything from the sets, to the lighting, to the wardrobe reflects the zeitgeist of the era. As much as I used to enjoy watching old episodes of The Streets of San Francisco when I lived in SF to spot places in the City as they were in the same time period, I'm enjoying seeing Southern California in the late 60s with The Invaders. What I hadn't expected was the soundtrack and musical queues…they were composed by Dominic Frontiere, the composer who lent his talent to scoring The Outer Limits, a show that remains a personal favorite to this day. While watching last night I thought much of the music sounded familiar, but I didn't make the connection until I saw who'd composed it and I realized not only was it familiar, but it had been copied wholesale from TOL.

Yes, the effects are cheesy, but not too far from what we were seeing on Star Trek or Lost in Space at the time.

I understand why no one believed "Architect David Vincent" in his claims that he'd seen a ship "from another galaxy" (Really? Another Galaxy? You couldn't find something a little closer to home?) land after he'd taken a turn down a deserted country road. But I didn't remember from my few viewings as a kid was how pervasive the invasion apparently was. I mean, everywhere poor Mr. Vincent turned, he was confronted by under-cover aliens masquerading as humans (the only things giving them away is they lack a pulse, the ability to bleed, or show emotion, and most have a deformed fourth finger) and of course they dematerialize in a flash of red when they're killed, leaving no trace behind).

But the one question I started asking around the end of the second episode when it had been established—at least in Vincent's mind—that the creatures and their designs upon our world were indeed real—why the fuck he wasn't carrying a camera with him 24/7 to capture images…especially since he discovered that photographic evidence already existed. (And on that particular note, why didn't he make copies of said photographs that ended up back in the hands of the aliens? I mean really…)

I realize there were no cell phones in 1967, but there were still cameras…everything from cheap Kodak Instamatics to 35mm consumer units. I mean, there's no excuse for him not having one on his person at all times—especially when he's working a case.

And speaking of that, it's been established that he's an architect with a Southern California firm. We met his partner in the very first season. Where is his money coming from? Is he just a managing partner? Is he independently wealthy? It's not we ever see him working. Where does he get the means to fly across the country at the drop of a hat to investigate some report of the alien menace? (To be honest, I had the same question about Sam and Dean in Supernatural.)

All that being said, I'm enjoying the series, perhaps a lot more than I thought I would. It's at times silly and infuriating with its gaping plot holes, but it's still engaging. And the undeniable late 60s aesthetic is always enjoyable.

(Another review can be found here.)