Global unrest fed into HG Wells’s
The War of the Worlds. Here the
Boxer rebellion is depicted in a
French illustration from 1900
Right top: New Yorkers heckle
the city’s 1951 communist
May Day paradeIntroducing the world to hideous, tentacled Martians – who lay waste to
mankind with devastating heat-ray guns – it’s hardly surprising that
HG Wells’s novel The War of the Worlds made quite an impact when
it was published in hardback in 1898.
The novel tapped into a climate of global anxiety, as the world’s imperial
powers continued to flex their muscles but encountered increasingly
determined opposition as they did so. The Cuban War of Independence,
the Philippine Revolution and the Spanish-American War were just three
of the conflicts to rage in the dying days of the 19th century.
The War of the Worlds was one in a long line of British invasion narratives
- beginning with George Tomkyns Chesney’s The Battle of Dorking in 1871,
a fictional account of a German attack on Britain.
An invasion dominates Wells’s novel too. But, in this case, it’s not humans
responsible for it. When Martian forces make a surprise crash-landing in
southern England, British troops are helpless to stop their relentless and
bloody advance. “With infinite complacency, men went to and fro about
the globe, confident of our empire over this world,” the novel’s narrator tells
us. “Yet, across the gulf of space, intellects vast and cool and unsympathetic
regarded our planet with envious eyes and slowly, and surely, drew their
plans against us.”
As Britain stood on the brink of a second conflict with the Boers
of southern Africa, and with tensions rising that would end in
the First World War, it was but a small step to substitute Martian invaders
with human armies.
ALIEN INVASION
HG Wells’s The War of the Worlds arrived in a period
in which wars of empire raged across the globe
As Nazism was consigned to history in 1945,
so too – for a short while at least – was film-makers’
fascination with Mars. Hollywood now turned
inward, looking for relief and escape after the
horrors of war and economic turmoil. Mars was
no longer deemed interesting subject matter and
no theatrical films between 1945 and 1950 used
Mars in their titles.
But, by the start of the 1950s, a new enemy had
emerged, striking fear into Americans:
communism and the USSR. For years the two
superpowers leapfrogged in an arms race that saw
the US produce atomic and hydrogen bombs and
the USSR launch a man into space. Politically,
they fought by proxy in the Korean War (1950 –
’53); domestically, they traded spies and speeches.
The trial and execution of Julius and Ethel
Rosenberg, Americans convicted of passing
top-secret information about the atomic bomb
to the Soviet Union, only served to fan anti-
communist feelings. The pair were investigated
as part of Senator Joseph McCarthy’s ‘Red Hunt’.
Anyone discovered to be a ‘Red’ – named for the
colour of the USSR’s flag and that of international
communism – could be imprisoned or black-listed
for employment.
From 1950 until McCarthy was censured as
a demagogue by the Senate in 1954, Mars, as
the red planet, was only ever filmed in a sinister
light. Invaders from Mars (1953) and Devil Girl
from Mars (1954) are just two of the films that cast
it as the cradle of malevolent forces.
While cinema tended to portray Mars as a source
of evil, in novels, the planet often offered humanity
redemption. Ray Bradbury’s 1950 linked-story
collection, The Martian Chronicles, is
an outstanding example of a tradition going back
at least to the turn of the century in which Mars,
in prose, offers mankind the chance to occupy
a new Eden. One story, ‘The Green Morning’,
sees the protagonist, Benjamin Driscoll, plant
seeds that grow magically overnight into lush
trees that oxygenate the Martian atmosphere.THE RISE OF THE
RED MENACE
Amid anti-communist witch-hunts, films and
novels offered contrasting portrayals of Mars1
2
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