Retrospective: Phase IV (1974)

[Shane Burridge]

Phase IV (1974) 84m 

Made back in the days before any movie title with a Roman numeral in it was 

automatically a sequel. Those who knew about title designer Saul Bass, the 

designer of many memorable credit sequences for Hollywood movies (and 

co-author of the famous shower montage in PSYCHO) would have undoubtedly 

been curious as to what he might make as a feature debut if he ever had the 

chance. He certainly came up with something unexpected. PHASE IV has since 

become a cult movie, not only for Bass' involvement but also its odd premise - 

two scientists working in a metal dome are laid under siege by hyper-intelligent 

ants. Much comparison has been made about the 'other' classic SF 'ants in the 

desert' movie THEM!, mainly on issues of size, but the ants of PHASE IV are 

much scarier. Shot in breathtaking close-ups by Ken Middleham, which should 

forever dispel anyone's image of ants as little black dots, it's almost plausible 

to believe that these creatures really are communicating on a higher level. The 

vague cosmology that opens the film suggests a sort of evolutionary catalyst, 

reminiscent of Poul Andersen's economical novel 'Brain Wave', which had all life 

on Earth evolving higher intelligence after the Earth moved out of an interstellar 

inhibition field. 

70s cinema was fond of ecological-revenge scenarios, with various inhabitants 

of the planet getting even with mankind for exploiting the planet. The 

ant-agonists in this case have a different agenda, although the assimilation 

and eventual extinction of humans seems to part of the process. By raising their 

consciousness the ants of PHASE IV realize that by ceasing their species rivalry 

and banding together they can enslave colony members of a much higher potential

 - namely, us. We're quick to notice the hive-like appearance of the scientists' 

dome, the insectoid biohazard suits and masks they wear, and the detached, 

distinctly inhuman approach to death of their kindred. The story doesn't really 

hang together on the first viewing - although the film is chaptered in 'phases' 

we're not really sure what each phase is - but the visuals easily compensate 

(this film needs to be seen on a big screen). The idea of creating ant-level views 

of the world and pushing his lens as close as possible to small objects, making 

them appear huge onscreen, was patently the appeal that this project had for 

Bass. From the opening shots of a truck roaring along the desert, his visual hold 

on the film is assured. Criminally, the closing montage, which would have no doubt 

been a highlight of Bass' style, was lopped off by the studio, explaining the film's 

abrupt ending - fans of Japanese percussionist Stomu Yamash.ita had reason to 

be twice as annoyed. Ironically, although being a poster designer for many other 

movies, Bass had no part in PHASE IV's artwork, which misused his homage to 

Bunuel/Dali by marketing the film as a horror flick.

sburridge at hotmail.com


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