Similarly, Don Siegel reluctantly shot a prologue and epilogue to Invasion of the Body Snatchers at the instruction of Allied Artists, in order to give Kevin McCarthy (and the audience) hope rather than letting the aliens win, which (*SPOILER ALERT*) they do however in the scary but largely inferior 1978 remake with Donald Sutherland.
The Day of the Triffids also has a horrendously clunky framing device of a husband and wife (Kieron Moore and Janette Scott) marooned on a lighthouse when the world is attacked by triffids, whilst throughout the rest of the film Howard Keel and company are battling through a very uncertain future in Steve Sekely's stark fantasy horror drama. The framing device that came up with a ludicrously simple solution to the alien menace was shot was a new director in the making, Freddie Francis, and the lighthouse scenes had their own element of refreshing entertainment about them.
Through all these slightly dubiously revised films, the one factor that executives considered at the back of their minds was the audience feeling of Hope - much derided, but also rather underestimated, and not just because the fact that studios are out to make a fast buck. Sometimes not just Hollywood, but also the audience, wants a happy ending.
