1960: British kids in school uniforms with glowing eyes, driving the fearful conservative locals insane with the power of
their minds! No, it aint the Who, its one of they key horror moments of our modern age. Based on the book The Midwich Cuckoo
by John Wyndham (Day of the Triffids), Village of the Damned tells the story of generational conflict between the local populace
of a small English hamlet called Midwich and a rash of weird children born to all the women after a consciousness outage.
Gordon Zellaby (George Sanders) sees it all happen.
The local psychiatric big wig, Gordons on the phone with his high-ranking brother in law, Major Allen Berner (Michael Gwynn),
as his wife Anthea (Barbara Shelley) flits around in the other room fixing lunch. Suddenly the town is hit by a force that
renders every living thing within an invisible perimeter around the town unconscious.
After the consciousness is restored everyone seems unharmed, but the local women are all pregnant (including Anthea), and
a few years later groups of incredibly composed schoolchildren are walking around together, driving any adult or bully who
gets in their way to suicide with their powers of mind control. Gordon and Antheas own son is their leader, and uses Gordon
to try and help them escape once the town's meddling proves to difficult to ignore, and the British governmentdebates dropping
an atom bomb on the town to get rid of the youngsters.
Interestingly, Wyndhama British authorset the original novel in the United States, but the films American producers relocated
the shoot to England for tax purposes. Its hard to imagine the tale being as chilling in the U.S.A, a land where everyone
is used to passing out, waking up pregnant, and giving birth to blonde-eyed monsters that drive them insane. For the Brits
such an event must be an especially difficult challenge to their stiff-upper-lipped reserve. In fact, the Midwich residents
can hardly even discuss these things even amongst themselves. This is still the era when fathers-to-be pace the waiting room,
furiously smoking cigars, rather than shouting Breathe, Honey, breathe in a surgical gown and mask. Whereas Americans would
be swarming around the freak blonde kids like a tourist attraction ("Do that glowing eye thing again!") , or burning the virgin
moms at the stake in puritanical hysteria, the stalwart Midwichers merely think of England and carry on as if it didnt happen.
In fact, this sense of British propriety is what creates the problem in the first place. By contrast we learn that a similarly-inflicted
Inuit tribe in Northern Alaska has killed all their batch of blonde kids at birth, as per tribal custom. In Outer Mongolia,
an outbreak resulted in not just the children, but the mothers being killed. In Midwich these sort of barbaric bud-nippings
dont happenthis is England, Jack! As a colonizing nation they scoff at primitive superstitions which view the unborn as vampiric--neither
alive nor deadprior to their initiation into the social order. One look at these weird kids and the primitives knew they could
never be initiated and so they were pulled like weeds from the group garden.
In 1960 Britain still was only fifteen years from the end of World War Two. In the post-9/11 world of today we may suffer
a certain amount of anxiety, but can such anxiety compare with that of a typical Londoner during the blitz of 1939-45? The
destruction of the World Trade Center is, after all, not a nightly occurrence. The Aryan blonde, emotionless coldness of the
Midwich children certainly echoes trauma still buried in the fear centers of many an Englishman (an equivalent might be if
a town full of American white women started giving birth to Muslims).
One must remember too, that the colonizing British must harbor some suppressed well of collective suspicion that a good ass-kicking
still coming their way from the Third World they've been exploiting all this time. He who conquers by the sword will be conquered
by the rocket, so to speak. Unlike Britain however, Americans are proud to be without a class structure, racially defined
or otherwise. In Britain a chimney sweep will still supplicate before a doctor, thus the fear and hostility accorded the children
by the uneducated locals makes more sense than it would in an American town. If the intellectual leaders of Midwich are to
be made lower class citizensif the doctor is to become the new chimney sweepthen what will happen to the chimney sweep? He
will be bumped one peg lower bumped off, in fact, and he knows it well in advance of the paradigm shift. Like the humans they
walk among, the Midwich children are class conscious, treating the upper class, i.e. the Major and George Sanders with some
respect (The kids hurt the major at one point, but dont kill him) while the local yokels are treated the way German soldiers
might treat the peasants in an occupied Russian town, with punishments that vastly outweigh the infractions.
Another unmistakably English element is the suburban/rural environment. The locals are trapped there in a way that is unimaginable
in the national highway crossed America of the same age. Remember the big American horror of the same year (1960) was PSYCHO,
which involves a roadside motel where the highway was moved. Being merely a mile or two away from it is enough to cause anxiety,
to get a feeling of being cut-off. Midwich isnt even remotely near any highway; its connected only to the next hamlet via
a winding country lane populated by parsons on bicycles and farmers in their quaint pick-ups. Its provincial in a way Yankees
cant even understand as connected by thoroughfares and televisions as they are. The government representatives travel by car
into town (the parson rides a bicycle, etc.) to figure out what to do, and if necessary they will drop an atom bomb without
anyone ever knowing. The town is never connected to the rest of the country or world in any clear way.
We can see how less effective the story is when moved to America in John Carpenters 1995 remake (above). The only way Carpenter
can even begin to duplicate the sense of being cut off is by moving the tale to a small town hidden amidst the New Mexico
desert, then establishing a sense of community via scenes involving the residents all getting ready for a big town picnic,
which he bathes in golden hues and sets to acoustic guitar music. It's an interesting approach to depicting small town isolation,
but not entirely successful (he pulls it off far better in THE FOG) doesnt work as well as the gloom of the English countryside,
where the towns seem always deserted and unnaturally quiet, but the sense of community is still genuinely thick, at least
at the pub.
And the communal mood is dour. The rash of mysterious pregnancies arent all so well received in the rest of Midwich as they
are in Sanders' house, especially within the families of the unmarried good girl virgins: Janet Fall attempts suicide over
the news, and the other, less wealthy or rational ones get the short end of the systems stick. Theyre considered sullied in
reputation (even though they are technically still virgins) as its easier for a patriarchy to accept a womans guilt over its
own failure (as in the tendency to assume she was asking for it in rape cases). We see how, in that lowest of working classes,
woman occupies a rung still lower.
This is yet another region in which the films British-ness works to its fear-factoring advantage, as the realm of medicine
is socialized in the UK, a far more civilized approach than ours but in the process linking the child birth process of the
poor with the evil epistemological eye of Big Brother. We see this in a key scene where a mobile medical unit has been set
up in the town to monitor the moms-to-be (the poor ones, who unlike Anthea cant afford privatized care). The camera POV is
from above, looking down on the women coming in and out of the truck, their heads hung in shame, as if inviting us to see
them as test subjects under the microscope. The shot seems to link the government, aliens the world of medicine the way the
TV show The X-FILES would later do, drawing sinister conclusions about who really owns and controls a womans womb, and reproduction
as a form of socially sanctioned slavery.
When the babies are finally born, there is again a sense in the suddenly optimistic musical cue that things may go all right
for Gordon. But it doesnt last long. The dog is the first to suspect things are not all right, growling nonstop at the baby,
christened David, until the inevitable. Then Gordon begins to get jealous of his own child. Handsome, isnt he? he says, but
beneath that British reserve one can sense the faint hint of a reverse Oedipal complex with the son already having more power
over the mother than the father does. David will later employ this power to force Anthea to scald herself when the water in
his bottle is too hot, and one can only imagine what other infantile urges the child forces his mother to gratify.
When there is an invasion of otherworldly evil it is common for the main character to have some sub-Freudian link with it,
some barely tangible connection that only the weird old, cackling old woman at the bar can see. It was the boiling over sexuality
of 1950s teenagers that caused the giant insects in all those old bug movies, not the A-Bomb, though whats the difference?
Each is a metaphor for the other. Gordon cannot reconcile the reverse-Oedipal urge to kill his kid with the buried suspicion
that his wishing brought the stork of Satan down upon them all. So rather than admitting he made a mistake, he wants to find
some good therein. He starts arguing that the Midwich spawn are not inherently evil, but just at that pre-empathic stage of
all infants; there is good to be found in them, and fun things to study and learn about the human mind. A parallel in the
21st century would be the childless couple who wind up with deformed quintuplets after signing up with an insane fertility
doctor, and yet manage to convince themselves their lives are somehow changed for the better.
Thus Gordon becomes an unwitting traitor to himself and the town. He uses his position as a leader to admonish the military
and government officials to allow him to study the intelligence of the children on his own, arguing that they should be allowed
to live together in a schoolroom: Children are not good or evil! Gordon's brother-in-law the Major is concerned: What if we
cant put the moral breaks on them? This is a legitimate worryif they know you can never spank them, why should they ever listen?
And Gordons unwillingness to condone their extermination distinctly sets the field of science/eugenics up against humanitys
own survival. The sense of taboo that resulted in the Intuit and Mongolian children being killed at birth doesnt exist for
the civilized man, who has to wait until the children have grown so big powerful only nuclear strikes will do the trick (which
becomes the fate of two other damned civilized villages). In this context, Gordon becomes his own bad guy, like Dr. Carrington
in THE THING (1951) shouting: Youre wiser than we are, you must understand! as James Arness gets ready to clobber him with
a chunk of wood.
That the Major and others give into Gordons ill-advised wish is again due to their Britishness (Kenneth Tobey would have just
shoved him aside) and the fact that these are their children too, and rebellion and difference is not all that unusual (the
majors parents may have wanted to kill him when he was a kid, too). The comic book/movie series X-MEN follows a similar tack,
with the mutants finding refuge at a school helmed by a master of mind control. Its a misunderstood teen fantasy of letting
all the freaks go live together since the adults hate them so much. Like some pint-sized biker gang, the Hitler Youth or a
rock band, they all want to dress alike, and walk around the streets like they own the place. They are part of a new movement,
the dawn of the eugenic-counterculture. Parents are yesterdays papers. At one point Gordon even asks them; What do you kids
want? The kids reply: We want you to leave us alone!
This request which would later become immortalized in Pink Floyds
THE WALL (above) a 1982 rock film chronicling a fascistic rock stars childhood in post-war England. And as in
that film, the adults simply cannot leave their little Nazi progeny alone. When faced with a higher or different intellect
than themselves, the parents must try to understand, meddle and control and failing that, destroy them rather than be made
irrelevant. If you didnt suffer from emotions, you would be as strong as we are, David says to Gordon at one point, indicating
that what the adults see as their humanity is something the Midwich children have transcended, and in short: if you want to
find out whats behind these blue eyes/ youll have to claw youre way through this disguise (2).
It has long been a source of fascination with UFO theorists that if humans could access our entire DNA, we would be able to
recognize and harness powers which we now think of as alien. Some go so far as to speculate that alien DNA dampers are what
keep that other 90% of our minds inactive. We could be as strong as the Midwich kids if our minds werent mostly shut off as
a result of some higher beings neutering of our genes: When Davids real extra-dimensional father last pulled his induce sleep
and artificially inseminate business it may have been with apes at the dawn of time. He made sure to lower the wattage of
our alien chromosomes, but for this next go-round, hes turning the dimmer switch up to bright. Gordon notes that the childrens
power has no limit, any more than there is a limit to the power of the human mind. Emotions and feeling may just be what we
have instead, the filler, the last few remnants of our shouting, ass-grabbing monkey ancestors.
But we are still bound by our own compassion as human viewers, and any compassion we had for these different kids is compromised
when they start killing more and more innocent people. When the drunken crowd at the pub decides to go burn down the schoolhouse,
the scene in its way links the Universal 1940s torch wielding villagers with the drunken posse of Sam Peckinpahs STRAW DOGS
(1971). Like Dustin Hoffman in that film, Gordon stands between the villagers and their prey, guided by his sense of superiority
as an intellectual. Not that he is really needed, as the kids make the leader of the mob self-immolate with their own torch.
The horror of this scene also further estranges us from whatever sympathy we harbor for the misunderstood cool kids. Our own
sense of superiority to the lower class townspeople is called into question when our identification with the kids is continually
turned back in our faces. They in fact become the new adults. They are too powerful and amoral even for us, the infantile
viewers. Thus when Gordon brings his satchel full of dynamite and brain full of brick walls into the schoolroom, he is now
the child. He is the rock and roll rebel who is going to blow up the school as a symbol of rebellion against of his social
rulers. As the audience we have become anti- our own hierarchal constructs. We may as well be singing we dont need no education
/ we dont need no thought control as we hammer the brick walls of the classroom down around us, while our grandchildren watch
and sadly shake their heads in disapproval.
By Erich Kuersten
- originally published Van Helsing's Journal #2- 2002
c. 2001, 2009 - Erich Kuersten
C. 2013 - Acidemic Journal of Film and Media
- BFG LCS: 489042340244