Yet much advance public interest gives the Columbia Pictures release a strong commercial potential. Spielberg utilized an enormous crew of creative-technical specialists to achieve some stunning effects which have a cohesion and unity that is, in comparison, lacking somewhat in his screenplay or at least in the edited form of release prints. Concurrent with this plot line are the maneuverings of a seemingly international and secret team of military and scientific personnel in which Francois Truffaut is a key member.
He is subsequently haunted by a mountain-like image in his head and becomes obsessed with discovering what it represents, putting severe strain on his marriage.
Meanwhile, government agents around the world have a close A film review of close encounters of the second kind, discovering physical evidence of otherworldly visitors in the form of military vehicles that went missing decades ago suddenly appearing in the middle of nowhere.
Roy and the agents both follow the clues they have been given to reach a site where they will have a close encounter of the third kind: Younger readers may not appreciate the fact that, beforescience fiction films remained on the fringes of the mainstream. Even well-known films like MetropolisForbidden Planet and A Space Odyssey were considered novelties when compared to their cinema contemporaries.
This changed in with the release of two of the highest-earning films in history, both of which were science fiction yet at opposite ends of the genre spectrum.
The first was Star Wars IV: A New Hope The second big blockbuster of the year was Close Encounters Of The Third Kind and, A film review of close encounters totally different to Star Wars, it has one basic feature in common: It has more to do with mysticism and spirituality than with science fiction.
Written and directed by Steven Spielberg, Close Encounters properly begins in a small rural town in Indiana where a number of people experience a strange manifestation. The next person to become involved is power company worker Roy Neary Richard Dreyfusswho sets out in his truck to investigate the sudden power failure only to be caught up in a nightmarish series of phenomena he finds incomprehensible.
Strange lights surround him, the dashboard of his truck goes wild and his equipment starts to move around as if with a life of its own. Then he sees, hovering overhead, the glowing shape of a flying saucer.
He becomes obsessed with UFOs, loses his job as a result and alienates his wife Teri Garr and his three children when he persists in trying to sculpt the shape of a strange mountain a vision firmly implanted in his mind since his encounter with the UFO with whatever material is at hand, be it soap, garden soil or mashed potatoes.
This vision is shared by other residents of Indiana who have also seen the lights of the UFO, and Jillian is convinced that her son has been kidnapped by the flying saucers.
This middle part is perhaps the weakest part of the film, as Speilberg was obliged to pad it out with a number of extraneous sequences and subplots.
They are not disappointed.
The UFOs, in the form of a dazzling display of lights, appear on cue and there follows a barrage of spectacular visuals accompanied by bursts of electronica, which culminates in the landing of the vast alien mothership, a circular object with cathedral-like spires rising from its centre and covered with hundred of illuminated windows.
Then the aliens appear — first a swarm of child-like aliens, glowing and indistinct like humanoid fireflies, followed by the chief alien whom we see in close-up — an ethereal and apparently androgynous figure with a long neck and no hair.
As he stands there, Lacombe steps forward and smiles and, after a pause, the alien smiles back.
A Space Odyssey, Close Encounters is a religious film. The mischevious and downright sadistic behaviour of the UFOs in the early stages of the film bears no relation to the obviously friendly creatures who are revealed at the end.
Reports of sightings were on the increase and even then-President Carter claimed to have seen a flying saucer. NASA had received an official request to investigate possible new methods of approaching the whole question.
If we understood hallucinations better, we might know why the shapes and colours and lights are so often the same. This view was completely supported by scientist and author Isaac Asimov who, at the time, publicly denounced Close Encounters as a dangerous influence on impressionable minds and contributing to the general move away from rationalism towards mysticism.
On a purely visual level, Close Encounters is a superb film and Spielberg demonstrates once again how well he can manipulate an audience.
His films may not exactly be art but they represent the peak of craftsmanship, perfect machines in which all the parts — story, actors, effects, editing, music, etc.
Arbogast had previously worked with Spielberg on Jawsand Trumbull had worked on I liked Close Encounters because it was a totally different look with new kinds of effects.
We had to be down on Earth with totally believable illusions. So the general look we went for was one of motion, velocity, luminosity and brilliance. We used very sophisticated fibre optics and light-scanning techniques to modulate, control and colour light on film to create the appearance of shape when, in fact, no shape existed.
Trumbull was so proud of his work on Close Encounters, he vowed never again to do special effects for anyone else. Instead he started work on a project of his own entitled Brainstorma much-troubled production that suffered the sad loss of its leading lady, Natalie Wood, mid-production. The aliens who emerge from the mothership were designed by Carlo Rambaldi, the man responsible for the forty-foot-tall mechanical embarrassment that briefly appeared in King Kong The tall alien who smiles at Lacombe took three months to build the child-like aliens were exactly that — children in costumes and was animated through a combination of mechanical and hydraulic gadgets.
The brief smile was achieved via artificial tendons operated by remote control. As usual, Rambaldi made excuses for his rather shoddy animatronics: The aforementioned giant ape in King Kong, the tentacled alien in Possessionthe giant snake in Conan The Barbarianthe giant worms in Dune and, most infamously, E.
Once on-set, none of these mechanical creations ever worked properly, forcing the filmmakers to compromise during photography and editing. How he continued to get work is beyond me.
I look forward to enjoying your company again soon when I have the opportunity to give you swift kick in the old brain-box with another fright-filled fear-fest from the far side of…Horror News!Aug 31, · Close Encounters is the first masterpiece of what would become an increasingly technocratic ’80s movie-house takeover/5.
Sep 01, · The film that is opening in the most theaters this week is actually a year-old masterpiece from writer-director Steven Spielberg.
I’m not going to spend a . "Close Encounters" is not another one of those no- brainers that spoon feed everything to you; the film makes you think and formulate your own opinions.
For me, this flick was very interesting and extremely worth the time and money I spent to watch it. CLOSE ENCOUNTERS OF THE THIRD KIND is a humanistic postmodern masterpiece that incorporates much of movie history--images, sounds, and subtle evocations of the works of Walt Disney, John Ford. Audience Reviews for Close Encounters of the Third Kind Spielberg's classic UFO film is the blueprint for the barely used naive, optimistic alien encounter genre%.
Jan 01, · Spielberg's Special Edition is sort of a "Close Encounters: Part /2." It is also a very good film. I thought the original film was an astonishing achievement, capturing the feeling of awe and wonder we have when considering the likelihood of life beyond the Earth.4/4.