Compare And Contrast Cold War And Post 9/11

2 Critical Comparison of Cold War and Post-9/11 Apocalyptic Film:

War of the Worlds 1953 and 2005

The initial version of War of the Worlds, produced in 1953 by Byron Haskin, was one of the first Cold War apocalyptic films. The story is based on H.G. Wells’ novel of the same name from 1898, which criticizes colonialism. Aired by the New York Times as a radio show, it already shocked people throughout the U.S in 1938. In 2005, Steven Spielberg shot a remake of War of the Worlds, which was one of the first apocalyptic films published after the terror attacks. The general story of both versions is similar: Martians try to invade the earth and are finally defeated naturally by a bacterium. However, each version uses different approaches to

address contemporary topics. The analysis and comparison of the films examines changes, differences and similarities between the two periods, based on three main aspects: the apocalyptic threat, hope and future as well as Civil Defense and security. The analysis of the apocalyptic threat reveals parallels of the fictitious apocalyptic threat with real contemporary threats, triggered by conflicts and political moods. The investigation of images of hope and future will indicate society’s and government’s responses, moods and ideologies in times of crisis and the last aspect on civil defense and security will examine the preparedness of U.S. government and society in case of an apocalyptic event. In the Cold War, as well as in the post-9/11 period, the apocalyptic film uses apocalypses to address contemporary problems and threats. However, between the two periods, the apocalyptic film changed in concerning the apocalyptic threat and ideas of hope and future, but depictions of Civil Defense and security remain considerably similar.
In both versions, the fictitious apocalyptic threat is a Martian invasion.

In the initial version, this new external threat is an allusion to the contemporary topic of the Cold War and atomic weapons; depicting the Martians as “godless communists, attempting to invade the United States for their own nefarious purposes” (Wetmore 48). This “enemy stereotyping” (Shaw 65) is typical for Cold War apocalyptic films and fits in the historical context of 1953, namely the third year of the Korean War. Still in the beginning, a comparison of the new “War of the Worlds” with World War I and II, clarifies the novelty and exceptionality of the threat and therefore parallels it to the Cold War. The comparison functions as a foresight that America’s role as world leading super power and its persistent success might be proven. Government’s first reaction towards the invaders is a military response, which should save society but also functions as a demonstration of power. In contrast to prior successful military responses, the U.S. in War (1953) is not able to defeat the enemy, which implies a clear failure of the military. The following use of an atomic bomb, which demonstrates the real readiness of the U.S. to use such weapons in the new war, fails and by that reveals a breakdown of technology. In general, atomic bombs and references to radiation (e.g. the signal of the Geiger counter) were common tools in apocalyptic films of the Cold War era, used to help “people [...] to grasp the

‘real’ meaning of a conflict that for most of them was peculiarly abstract and for many Americans especially, was fought solely on an imaginary level” (Shaw 301). Through the dropping of the bomb directly near Los Angeles and the celebration of the detonation as a public event, the film criticizes government’s nuclear policies as well as society’s naive attitude towards nuclear weapons. The failure of the atomic bomb implies the advice that nuclear weapons are not the general solution for every conflict, drawing a parallel to the Cold War. In connection to the topic of nuclear weapons, the protagonist Dr. Forrester plays an important role by symbolizing technology and development as a scientist of the Manhattan Project.

He is also helpless in the war against the Martians and instead of trying to find a solution, he wants to escape. The attempt fails, which is a symbol of the real powerlessness of technology and furthermore, of God’s judgment over humans or even over the scientists, who were jointly responsible for the atrocities of Hiroshima and Nagasaki. A natural reaction triggered by bacteria, finally kills the Martians and saves the human race, which indicates that only God is allowed to judge over life and death. Again, a criticism on America’s use of the atomic bomb and their attempt to take possession of God’s role. In the 2005 version, the external Cold War threat was no longer topical and instead terrorism as the new external threat was contemporary. Due to Rachel and Robbie’s idea that the invaders are terrorists, the film directly equates the Martians with terrorists. This parallel shows how deep the anxieties of terror attacks are rooted in society’s believes and additionally symbolizes American’s naivety and the 9/11 trauma leading to everything bad being directly connected to terrorism. Furthermore, the development of the Martians into huge Tripods, also able to act under water, indicates to a development of the enemy. In contrast to the 1953 version, in which the

Martians landed on earth to invade it, in the new version they are already in America, buried under the surface, which is a similarity to the terrorists who were also already in the U.S. before 9/11 (Wetmore 48). This reveals a change in the general nature of the threat. In connection to 9/11, the fact that “the 1953 film is set primarily in Los Angeles; but the 2005 film is set in New Jersey, New York and the road to Boston” (Wetmore 25), gives a hint of the new importance of New York after the attacks. In this connection, the destruction of New York and Washington, D.C. in the 2005 version are strong symbols, because they are not only major business centers, but also politically important. Together with other references in the film, like the bridge which connects New Jersey and Manhattan, dark clouds, falling clothes, bodies covered with dust and missing person posters, they “activate a memory of 9/11” (Westwell 97). James Hoberman describes that War (2005), “deliberately evoked the trauma of 9/11” (134), perfectly visible for example through the airplane crash of a Boing 747. Furthermore, the TV reporter’s comment that after the flash of the Martian “everything [lit] up like Hiroshima” (Friedman/Koepp 55), connects 9/11 with the atomic bombings of 1945. “The devastation of the World Trade Center also represented another evil beyond recall: the World War II legacy of terror bombing and deliberately targeting noncombatants” (Dower 299), a connection which offers the idea that the terrorist attacks were possible revenges for America’s past atrocities. Later in the film, Ogilvy’s description of the U.S. as the greatest power and his doubts that Japan is able to defeat the Martians when the U.S. is at the same time helpless, again encourages the process of remembering. Additional, these ideologies are illustrative for American’s conservative believe and ideology and indicate a criticism on still existing, but old-fashioned World War II concepts of enemies. In contrast to the Cold War version and additional to the new external threat of terrorism, the film also addresses social problems as new internal threats. Instead of the couple in the 1953 version, Ray’s family embodies the 21st century problem of modern societies, lacking togetherness and unity. The possible establishment of anarchy, depicted through fights and murders between citizens, shows the social decline of society. These less obvious internal apocalyptic threats, which are partly triggered by the invasion, indicate a change and development in the general apocalyptic threat and create the danger that society destroys itself from within. Before the invasion, Ray’s familial situation is strained, although the solidarity of the family and a feeling of togetherness and unity was important more than usually after 9/11 (Ashby 497). In the film, the aforementioned values are achieved through Ray’s will, courage, tirelessness and sacrifice to save his family. Whereas the rest of society acts in a state of anarchy, Ray as an ordinary citizen is able to save and reunite his family. Only when society unites in the cage to help Ray, it is able to destroy the Martian. Moreover, the establishment of anarchy serves as a criticism of 21st century social constructs, especially society’s misbehaviors. Therefore, Ray is an example in times of fear; suggesting the advice and solution for society to appreciate the family, stay together and unite against the external threat instead of establishing an internal threat which is able to destroy society from within.