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Richard Dreyfuss
Francois Truffaut
Teri Garr
Melinda Dillon.
Steven Spielberg.
Steven Spielberg.
Running Time
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Close Encounters of the Third Kind
We're not alone.

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A line worker, after a encounter with UFO's, feels undeniably drawn to an isolated area in the wilderness where something spectacular is about to happen.

UFO mystery, cosmic road movie, an Everyman's quest for meaning and his place, Close Encounters Of The Third Kind is a thrilling vision of first contact with extraterrestrials. But take away the sci-fi, the spectacular sound and light show, and what remains is compassionate, classic human drama of an ordinary man in extraordinary circumstances who makes a difficult odyssey.
Richard Dreyfuss' appealingly anxious and good-humoured Roy Neary is a humble protagonist having a spiritual epiphany. He's an Average Joe working stiff with an exhausting family in a chaotic home, smack in the middle of middle America. As such, a mass audience identified with him much more intensely than with a more conventional romantic adventure hero.

When his encounter with a UFO is dismissed he becomes obsessed, to the exclusion of his family, with discovering what his experience means. The only person who understands is Melinda Dillon's Jillian Guiler, driven by her own search for her son, taken in
by a strangely terrifying visitation at her home, bathed in orange light. Eventually it becomes clear they are among implantees who have a shared vision, a connection that means something, something important. Paralleled with these intimate experiences of frustration and fear of the unknown, of courage, understanding and joy in confronting it (and finding something wonderful in the peaceful, childlike aliens), are the globe-trotting efforts of Francois Truffaut's hopeful Claude Lacombe and Bob Balaban's David Laughlin, head of the scientific project to investigate and respond to alien contact.

The phenomenal success of Jaws empowered Spielberg to realise his deeply felt personal project. Close Encounters shows all the sensibilities of the American post-War suburban Baby Boomer nurtured on Disney, 50s sci-fi and childhood experiences like being awakened by his father in the middle of the night to witness the heavenly spectacle of a meteor shower. Essentially it was an adult, skillful professional rethink of his adolescent, homemade epic Firelight; even the design prompts he gave visual effects guru Douglas Trumbull and cinematographer Vilmos Zsigmond originated in the Movie Brat's experiments at his kitchen table.

Watching Close Encounters is like an entertaining study guide to the filmmaker and his body of work. Not just a signature film, Close Encounters — the only one of his movies before A.I. written as well as directed by him — encompasses all the major themes, concerns and elements that recur throughout Spielberg's career. There are his staple characters (the individual driven on a quest, the sympathetic mother, the lost boy wise-innocent, the untrustworthy, obstructive authorities). There is a transforming experience that creates a need to fulfil a mission or wish. There is the use of bright light as literal and metaphorical illumination. There are rescue, redemption, and affirmation of an individual's worth. In so many ways Roy Neary is forerunner and cinematic soul brother to Indiana Jones, E.T., Celie Johnson, Peter Pan/Banning, Oskar Schindler, Cinque and, more recently, Captain Miller.

Is Close Encounters his best film? It's inarguably one of them. It may not be his biggest commercially (although at a cost of $18 million for an initial return of $77 million at the U.S. box office it was one of the Top 10 hits of its decade). It may not be your favourite from his canon. And E.T. may be even more revealing of Spielberg's psyche. But it remains the definitive Steven Spielberg film, both in substance and style, even while he acknowledges that in his maturity he wouldn't make the same picture today: "I look at my movie and I see a lot of naivete, and I see my youth, and I see my blind optimism... It's the one film I see that dates me, that I really look back and see who I was 20 years ago, compared to who I am now".

It's also the one film he can't leave alone, re-editing it in 1980 into the Special Edition (tightened middle section of Neary's crisis, extended alien climax) and in 1997 into the Collector's Edition (digitally re-mastered, snippets reinstated, the unnecessary "afterthought" sequence showing the interior of the Mothership thankfully deleted).

Released within months of his best friend George Lucas' Star Wars, Close Encounters was the other instantly iconic event film of the year, with great reviews, enthusiastic queues and best bits immediately entering the currency of popular culture (the five tone musical motif Spielberg requested from John Williams as a universal greeting and language key, the mashed potato mountain).
For this writer, a vivid memory of the collective gasp of awe in a large, packed theatre as we thrilled to the Mothership coming over the mountain has always represented the ultimate testimonial to Spielberg's gift for wonder, and to cinema's power to take your breath away.

Years ahead of it's time in terms of SFX, it's a masterpiece of wide-eyed whimsy.

Reviewed by Angie Errigo

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Average user rating for Close Encounters of the Third Kind
Empire Star Rating

A magical science-fiction masterpiece

I know there's been enough mention of that M-word already on this thread, but I can't think of anything else to call it. One of the most visionary movies I've ever seen. ... More

Empire User Rating

Posted by Mr Gittes at 23:39, 07 February 2013 | Report This Post


I'm sick to death with this whole "Masterpiece"-"Masterpiece my ass" juggle. It's a fucking masterpiece, OK?! Not quite one of Spielberg's very best but it never fails to drop my jaw to the floor, especially the ending and the genius mashed potato scene. ... More

Empire User Rating

Posted by !xHoTRoDx! at 20:05, 18 June 2010 | Report This Post


wow.... you missed it completely, huh? ... More

Posted by hi scifi at 09:10, 19 January 2009 | Report This Post


I watched this film expecting to be blown away, having only seen a part of the end scene before (I didn't realise it was the end). I watched, and I watched, and nothing interesting was happening. The only two scenes that piqued my interest were the scene in which the little boy is abducted (phenomenal), and the beginning of the end set piece (gorgeous, but after a while it got repetitive). Everything else didn't make sense, it was way too drawn out, and none of the characters were likeable... More

Empire User Rating

Posted by Squidward Hark Bugle at 04:10, 09 November 2008 | Report This Post

An absolute masterpiece!

Finally, finally saw it for the first time tonight. This is Steven Spielberg`s ultimate science-fiction masterpiece. He makes it not only an exciting, mysterious action film but at the same time it`s an excellent, "human" film about the Average Joe and his problems with his every day life and the governement, among other things. The finale is nothing short of fenomenal and looks really breathtaking. In his 3 decade spanning carreer Spielberg has made some brilliant films but is o... More

Empire User Rating

Posted by TheGodfather at 22:28, 25 August 2008 | Report This Post


This film is utter crap. first off we are led to believe that a group of weirdo's making mash potato mountains are the so called chosen ones. terrible overblown boring cack. Come on guy's aliens that are friendly? my ass. the beginning is stupid the middle is boring and the ending is like a bad techno soundtrack. generic tosh. avoid. ... More

Empire User Rating

Posted by Horrorguru at 20:29, 12 March 2008 | Report This Post


At the end of the film when all the scientists, CIA officials and government workers watch as the aliens re-enter their ship is one of the most beautiful things in film history. Beofr e the encvounter they are professionals of the highest order, then as the aliens leave, they are all nothing more than 'children' watching in absolute wonder, their world, their views and themselves are change forever. And that is only a 30second shot of this amazing film. ... More

Empire User Rating

Posted by Funk_Knight at 13:10, 15 February 2008 | Report This Post


At the end of the film when all the scientists, CIA officials and government workers watch as the aliens re-enter their ship is one of the most beautiful things in film history. Beofr e the encvounter they are professionals of the highest order, then as the aliens leave, they are all nothing more than 'children' watching in absolute wonder, their world, their views and themselves are change forever. And that is only a 30second shot of this amazing film. ... More

Empire User Rating

Posted by Funk_Knight at 13:10, 15 February 2008 | Report This Post

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