Do science fiction films need big action and thrills to be entertaining?
In today’s cinematic landscape, so much of the science genre is filled with action-filled endeavors looking for cheers and less films looking for thought and contemplation. This is not to say there aren’t brains behind these big, budgeted thrill rides (because some of them have plenty to say along the way) but few big films feel more concerned with their themes. Plot, action, and effects sell tickets, right? Marvel and DC rule the roost in many ways. But the most iconic science-fiction franchise is Star Wars. Now that Disney owns it, we will continue to get plenty more where that comes from.
But where are the high-concept and thought-provoking science fiction films that cinephiles can sink their teeth into?
A24 is the most auteur of all production companies and they have offered up some of the best science fiction in years from writer-director Alex Garland including Ex Machina (an expert commentary on artificial intelligence) and Annihilation (a grotesque trip through evolution and the limits of humanity). For some pulpier affairs, Blumhouse offered up films like Upgrade (a new modern Robocop) and The Invisible Man (one of the most impressive, modernized remakes in recent memory). Then there is Denis Villeneuve. He shocked the world with his faithful and impressive adaptation of Dune (an unfilmable novel to some). But his high-concept science fiction film Arrival is thoughtful and moving in so many ways.
But an alien contact film like Arrival has some roots somewhere, right?
Look no further than one of Steven Spielberg’s unsung classics, Close Encounters of the Third Kind. It might be a stretch to call a classic truly unsung but in its stacked filmography of Spielberg, it is easy to get lost in the shuffle. With films like Raiders of the Lost Ark, Jaws, Jurassic Park, and Schindler’s List, it is easy to overlook such a perfect science fiction masterpiece like this. There are some beautiful and groundbreaking effects in this film but there are no giant action set pieces or thrill-driven narratives. Instead, this film plays with its audience as it builds mystery and intrigue. The layers are slowly pulled back to reveal something beautiful and awe-inspiring underneath.
What makes this film such a Spielberg masterpiece?
It is important to remember that Spielberg is a visionary director who knows how to mix genre, emotions, and technical prowess. All of these are on display in Close Encounters of the Third Kind. This is a hard science fiction flick. This is all about strange occurrences that cannot be explained by human technology and musical signals that are coming from space. Aliens. There is nothing more science fiction than a story about beings from another world. The emotion is there too. Spielberg will fill your heart and mind with fear while moving you with a beautiful heart as well. The way that Spielberg builds tension and suspense throughout this film is impeccable. There is a foreboding nature to much of the film until it is ready to reveal its true colors. And when that happens…bring on all the awe you can muster. Every frame is perfect, and Spielberg knows how to use his camera to build tension and emotion. Whether there is a set of headlights that vertically disappears from your rearview mirror, a blinding column of light from the sky, or a fleet of impressively rendered spaceships from another world descending upon our planet, Spielberg knows who to capture your imagination.
What are the two elements that make up this dual narrative?
One is headed directly to the intellectual side of things. There are historical vehicles, and such begin to mysteriously appear in some of the strangest possible places. There is a ship…in a desert. How did that happen? Intriguing, isn’t it? The atmosphere around this film is suspenseful and mysterious, especially during the scenes focusing on our investigators; Claude Lacombe and David Laughlin. Legendary filmmaker Francois Truffaut brings this French investigator to life (and does a really fine job at that) and Bob Balaban brings his always reliable talents to his supporting role. They find each new twist in this global mystery and each newer layer hooks the audience even deeper. This grandeur perspective is an intriguing and fresh one for a film like this. The problem-solving is relatable and the science is engaging. The perfect melding of music and technology is clever and impactful.
Where do we get the iconic heart that Spielberg is known for?
The more human narrative side of things, of course. Richard Dreyfuss (Jaws alumnus) portrays Roy Neary who is a simple, everyman from the Midwest. He has a wife (Teri Garr) and children (who he likes to be snarky with offering up some genuine laughs along the way). But one night…that all changes. A brief encounter…disappearing headlights…a pyre of burning light…a vision of a mountain. Roy’s life will never be the same again. Spielberg plays well in the sandbox of doubt and lack of trust. His own wife will not believe Roy even as his condition worsens and his driven obsession over this vision becomes all-consuming. He slowly begins forming this mountain out of a variety of items (becoming more and more concerning as they come along). Soon Roy is forced to find this place and the treacherous road he must follow is intense and full of suspense (thanks to Spielberg).
But this is not the only human element we latch on to, is it?
Melinda Dillon is Jillian Guiler who loses her son, Barry, to these mysterious forces. Toys coming to life. Glaring lights outside the door. This young boy cannot resist the draw of these alien forces. Spielberg builds the tension through minimal dialogue, music, striking effects, and a young boy’s curiosity. This sequence of the film is one of the film’s most iconic. Why? There are few things as engrossing than a slow burn of otherworldly elements surrounding the unknowing and naïve. No one is more naïve than a child. But there are few adults who show the same awe of the unbelievable as a child as well. This sequence is genuine and poignant as the audience feels this adventurous journey while also being struck with the worry and fear of a mother of a lost child. The connection between Roy and Jillian is one of the best elements of the film.
But does the grand climax weave these three narratives together in a compelling and satisfying way?
This is a tall order to film but Spielberg can do it in a grand fashion. Big effects meet big hearts in this iconic reveal. There is a fleet of smaller ships…there to scope out this mountain top. Then the mothership arrives. What a visual? This is one of the greatest spaceships ever rendered-on film. Our scientists have bridged the gap and created a musical machine to communicate. The sound design is top-notch as we speak in synthesizers and the aliens speak in dubstep (I hope you enjoyed that metaphor). This offers up a perfect conclusion to the more intellectual elements of the film (we made contact!). But the emotions flow next. Awe and shock flow over as these beings are revealed for the first time. Genius designs are shown off at this moment as we get some iconic visual representations of alien beings. The return of a lost boy and the departure into space for our protagonist deliver an emotional one-two punch that is pitch-perfect.
Who is the unsung hero of the masterclass in science fiction?
John Williams. This is not Jaws or Raiders of the Lost Ark or Jurassic Park but the score for Close Encounters of the Third Kind is something else. The sense of mystery, tension, and suspense would not be where it needs to be without Williams. There is an otherworldly nature to the music (what else would you want from an alien contact film?) There are haunting moments (which help build doubt and concern about whether these visitors are benevolent or not). That is one of the strongest mysteries of the whole film and the score teases you every step of the way. Williams slowly hints at different moods and emotions while still capturing the sense of wonder that he does with all his music.
But what is Spielberg’s greatest achievement when it comes to Close Encounters?
That is where Spielberg is at his most genius. He led us on the path to understanding and acceptance…and we never saw it coming.
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Playing with the expectations of his audience. From the jump, there is a foreboding nature around this film. On first viewing, you have no idea of the true intentions of these alien beings. Spielberg leans into some horror elements to deliver some shocks and thrills. This makes the audience believe that this might be an invasion. What do they want with this child? Why are they torturing the minds of these poor people including Roy? Why do they seem to be involved with some of the most mysterious abductions of people in human history? But then Spielberg, in the final act of this film, creates a wondrous shift to light and joy. We sit in awe of these beings and what they have accomplished. We are reunited with our loved ones and are greeted with a friendly branch of peace. This journey to overcome our prejudice and initial expectations of strangers is the most poignant and impactful message of the entire film. That is what Close Encounters of the Third Kind are so masterful.
