Standard commentary on Invasion of the Body Snatchers revolves around politics, the McCarthy era, the mindset of America hot with H-bombs, Soviet spies, a Red China, a Korean War stalemate.
The film is seen to warn us against creeping state centralization and the loss of individuality.
A counter-take sees the film warning us against the virulence of conformity imposed by fear, how judgment is clouded, how vigilantism destroys a society.
What about something more 'personal'? After all, the story centers on two intelligent adults whose potential love circumstance destroys. Subsidiary relationships among other characters wither, too, as precursors to the main. Father-daughter. Mother-son. Husband-wife.
The only virtue is survival, mass survival.
The clip where Carolyn Jones sees King Donovan's shape and soul inhabit the 'pod' found nearby. The opening of his eye, a 'first sign' of life, an alien life. She is to lose her husband, just as all are predicted to lose human bond to all others.
Inside the electronics store several young male retailers. White shirts, ties, low pay. Wiping-down the cell phone displays with paper towels, chatting and talking. Dry cells shucked like peanut shells.
Inside and out, round Filipino women with nice feet. Their t-shirts and flip-flops. Quiet morning. White and dirty-white cumulus, pastel blue sky slivers, pale solid blue in lagoons overhead.
New York Times Critic Anthony Thomassini on Mozart:
"Though he lived through the French Revolution you search his letters in vain for anything other than the most oblique references to this continental cataclysm. He had no feeling for nature and no interest in the visual arts. In his letters home during his wide-ranging travels he describes everything he heard and nothing he saw."