The film Text copyright (c) Filmverdict 2006-present. Any film titles and artwork used are copyright of their respective owners.
1977 was the year that science fiction emphatically embedded itself into the mainstream. Two unprecedented hits ensured that: a little something called Star Wars and Steven Spielberg's slightly overshadowed but still heavyweight contender Close Encounters of the Third Kind (tellingly, the two films' directors were, and are, best friends). Both found themselves pioneering new standards in visual effects, as well as becoming the prototypes for dozens of science fiction blockbusters to follow. In the case of Close Encounters, however, the scale and wonder of the spectacular sights is somewhat misleading. The aliens are almost a MacGuffin. It is, in fact, a film about the gradual but inescapable break-up of a family. As such, it straddles both the 70s "New Hollywood" era and the subsequent years of high-concept crowdpleasers; at its heart it is a raw and emotional drama, but those looking for more simple entertainment should find sufficient to satisfy them here.
Close Encounters is actually a surprisingly subtle film. Until the famous climax, the spaceships of the extra-terrestrial visitors are only glimpsed in brief snatches, with the emphasis placed very firmly on mysteriousness. It is a film that engrosses with its unusual and unpredictable approach to a familiar concept, that of the alien visitation. Undoubtedly, the film's impact is somewhat diminished now - these days we are much more used to seeing spectacular and impossible things at the cinema, and the events of the film have entered the popular lexicon to the point that it may offer few revelations even to those who watch it for the first time. Despite this, it remains a powerful and engrossing film, and a very impressive third theatrical release for the young Mr. Spielberg.
Here Spielberg re-teamed with one of his Jaws principal cast members, Richard Dreyfuss, after the latter begged for the role (Spielberg at first asked Steve McQueen, who liked the script but felt he wasn't a good enough actor to portray the required emotions). Dreyfuss embodies the everyman father character at the centre of the film very well, with an understated and far from grandstanding performance. Another returning collaborator is composer John Williams, whose score is not one of his most hummable - other than the five-note motif that everyone knows - but that was not what the material calls for. As per usual Williams' music brilliantly enhances the action and emotions on screen.
Despite the high standard of the film, the inexperience of the director is evident in some areas. The pacing of the film is at times erratic and there was quite a lot of indecision involved during its creation, resulting in the two subsequent cuts of the film that are also included in this set (despite all the time and effort spent on re-editing, the first version is probably the best). There's a naiveté to Spielberg's direction here that makes for an occasionally unwieldy film but also a refreshingly optimistic and spirited one. As such it may be less slick and well-oiled than some of the popular director's subsequent efforts, but here the flaws are part of the charm and actually enhance the overall allure. In narrative terms the film has problems, but as an experience, it's captivating.
The extras
The three versions of the film - theatrical, special edition, and director's cut - are each housed on a separate disc. Each disc features the trailer for that version (it's interesting to see how the art of trailer editing has evolved over the years). The picture and sound quality of all the versions is outstanding, looking and sounding about as good as DVD will allow, which is all the more impressive when the fact that this film was made before the digital revolution is considered.
Divided between the discs is a very good 100-minute documentary which goes into excellent detail, but it's not a new extra as it was included on the previous DVD release - in fact, it was made for the film's 1997 laserdisc outing. The doc really highlights how chaotic and problematic the production was, and shows how close it came to being a disaster - some of the ideas discussed would have made for a different and far inferior film. Spielberg seemed to be making a lot of it up on the hoof, so it's quite miraculous that the end product holds together so well; indeed, some of the best parts of the film were last-minute additions (such as the desert opening). The only real new extra, other than the ability to watch each version of the film, is a 20-minute chat with Spielberg, in which he interestingly reminisces about the shoot. Also included on disc 3 is a brief vintage featurette called "Watch the Skies", which was the original title of the film. Sadly, there's the usual absence of any Spielberg commentaries. Another disappointing omission is the deleted scenes that were included on the previous DVD release (some of which appear in none of the three versions).
As insignificant as this may seem, the main reason that the set comes recommended is the packaging. The unique box is made of very sturdy cardboard with a lid that hinges at the top and closes magnetically. Inside you get the three discs in a standard foldout arrangement, a poster outlining the differences between the three cuts (with the original theatrical one-sheet on the back), and best of all, a glossy 64-page book filled mostly with photos but also some information on the cast, crew and the production itself. It all gives the impression that a lot of care was taken with this release.
The summary
Close Encounters could only work in the filmic medium, relying so heavily on the visuals and film's emotive capacity. It is a memorable science fiction oddity that remains unique.
Agree? Disagree? Say so in the Guestbook!