The BBC’s The War of the Worlds (2019) is a bold attempt to bring H.G. Wells’ groundbreaking 1898 novel to life in its original Edwardian setting. Spread across three episodes and written by Peter Harness, the series offers a fresh yet faithful interpretation of one of the earliest and most influential alien invasion stories in literature. This adaptation marks a distinct departure from the action-packed Hollywood versions, opting instead for a slower-paced, character-driven narrative that blends science fiction with social commentary and emotional depth.
Setting the Scene: Edwardian England
One of the most striking features of the 2019 BBC adaptation is its historical authenticity. Whereas previous adaptations (such as the 2005 Spielberg film) have transposed the action into a modern setting, the BBC series places the events squarely in Edwardian England—just after the turn of the 20th century. This decision to preserve the novel’s original time period not only honors Wells’ vision but also enriches the thematic landscape of the series.
The story unfolds in the fictional town of Woking, Surrey, where an unearthly object falls from the sky. What initially seems like a meteorite quickly reveals itself as a Martian craft, the beginning of an extraterrestrial invasion. The Victorian ideals of science, progress, and imperial dominance are quickly shattered as humanity—despite its industrial achievements—proves helpless against superior alien technology.
A More Human Story
Rather than focusing purely on spectacle, this adaptation leans heavily into character development. At the heart of the story are George (played by Rafe Spall) and Amy (played by Eleanor Tomlinson), an unmarried couple whose relationship defies the social norms of their time. George is a journalist who has left his aristocratic wife to be with Amy, and their love is viewed with scorn by his family and society. Their struggle for legitimacy and acceptance becomes a parallel to humanity’s own battle for survival.
Amy, in particular, emerges as a strong and intelligent protagonist, taking a far more active role than her literary counterpart (who was barely a presence in the original novel). She challenges Victorian gender roles and becomes a voice of reason and resilience amidst chaos. Eleanor Tomlinson’s performance is nuanced and emotionally compelling, portraying a woman shaped by tragedy but also fueled by a deep desire to understand the world around her.
Rafe Spall’s George, meanwhile, is portrayed as a man torn between duty, love, and fear. His emotional arc—moving from idealistic journalist to a broken survivor—mirrors the collapse of the society around him. The chemistry between the leads gives the series an emotional core, making the audience care about their fate even as the Martian threat looms ever larger.
The Martians and Their Machines
In keeping with the source material, the Martians in the BBC adaptation are never shown in great detail. Their tripods—giant mechanical walkers—appear through smoke, fire, and dust, evoking fear and awe without relying on excessive CGI. The visual effects are more suggestive than explicit, emphasizing the sense of dread and helplessness rather than raw spectacle. The alien invasion feels eerie and invasive, creeping into the English countryside like a creeping disease.
The iconic “heat ray” weapon and the “black smoke” gas, both hallmarks of Wells’ Martians, are retained and used to devastating effect. Villages are razed, people disintegrate or choke to death, and the government is shown to be woefully unprepared for an enemy that cannot be negotiated with or defeated by conventional means. The visual style often leans toward the surreal, especially in the later episodes, creating a haunting and post-apocalyptic atmosphere.
Nonlinear Narrative and Philosophical Themes
The series employs a nonlinear narrative structure, jumping between the time of the invasion and a bleak, red-tinted post-apocalyptic future in which humanity has been all but destroyed. These time jumps serve to enhance the mystery of the Martians’ fate and show how the trauma of invasion continues to ripple through the survivors’ lives.
This narrative device also allows the series to explore deeper philosophical questions. What does it mean to be civilized? Can humanity evolve beyond its destructive impulses? How do we reconcile science and faith, knowledge and humility? These questions are posed through quiet moments of dialogue and reflection, often set against the backdrop of societal collapse.
One poignant example is the presence of Ogilvy (played by Robert Carlyle), a scientist who initially tries to understand the alien visitors with curiosity and optimism. His character represents the hopeful side of science, though even he is eventually overwhelmed by the scale of the catastrophe. His fate reinforces one of the core themes of the story: that humanity, for all its intelligence, is still vulnerable, fragile, and small in the vastness of the universe.
Feminist Undertones and Social Critique
The adaptation is also notable for its feminist lens. Amy is no longer a damsel in distress; instead, she becomes a scientist, thinker, and, ultimately, a voice for a new kind of future. This choice modernizes Wells’ story in a meaningful way, giving a voice to women who were largely marginalized in both the novel and in the society it depicted.
Class and colonialism are also subtle undercurrents in the story. Edwardian England’s self-image as the height of civilization is undercut by the ease with which the Martians dismantle it. In this context, the Martians become a mirror to British imperialism—a powerful force invading, colonizing, and destroying a people who cannot resist. Just as the British Empire viewed itself as superior to the nations it colonized, so too do the Martians view humanity.
Reception and Criticism
The BBC’s War of the Worlds was met with mixed reviews upon its release. Some praised its atmospheric storytelling, period authenticity, and emotional depth, while others criticized its slow pacing and lack of action. Viewers expecting explosive set-pieces and constant alien battles may have been disappointed by the introspective, character-driven approach.
That said, the series holds a unique place among adaptations of Wells’ novel. By remaining faithful to the setting and spirit of the original while reinterpreting characters through a modern lens, it manages to balance nostalgia with relevance. The script’s dialogue occasionally leans into melodrama, and the special effects—while effective—are not blockbuster-level, but the overall tone and thematic richness give the series lasting value.
Conclusion
The BBC’s The War of the Worlds (2019) is not just another alien invasion story—it’s a reflective, often unsettling exploration of what it means to be human in the face of the unknown. Its use of the original period setting allows it to delve into the anxieties of a world on the brink of modernity, while its reinterpretation of key characters, especially Amy, brings fresh relevance to a 19th-century tale.
By prioritizing mood, character, and philosophical inquiry over action and spectacle, this version may not be for everyone, but it rewards patient viewers with a haunting and thought-provoking take on H.G. Wells’ timeless story. It asks us to consider not just how we would survive an alien invasion—but what kind of world we would hope to rebuild afterward.
