Review: Steven Spielberg's "Close Encounters of the Third Kind" (Countdown to "The Fabelmans")

TRASH IN MY EYE No. 64 of 2022 (No. 1876) by Leroy Douresseaux

Close Encounters of the Third Kind (1977)
Running time:  135 minutes (2 hour, 15 minutes)
MPAA – PG
WRITER/DIRECTOR:  Steven Spielberg
PRODUCERS:  Julia Phillips and Michael Phillips
CINEMATOGRAPHER:  Vilmos Zsigmond (D.o.P.)
EDITOR:  Michael Kahn
COMPOSER:  John Williams
Academy Award winner

SCI-FI/ADVENTURE/MYSTERY/DRAMA

Starring:  Richard Dreyfuss, François Truffaut, Terri Garr, Melinda Dillon, Bob Balaban, and Cary Guffey

Close Encounters of the Third Kind is a 1977 science fiction film written and directed by Steven Spielberg.  The film follows an everyday blue-collar worker from Indiana who has a life-changing encounter with a UFO and then, embarks on a cross-country journey to the place where a momentous event is to occur.

Close Encounters of the Third Kind opens in the Sonoran Desert.  There, French scientist Claude Lacombe (François Truffaut), his American interpreter, David Laughlin (Bob Balaban), and a group of other researchers make a shocking discovery regarding a three-decade-old mystery.

Then, the film introduces Roy Neary (Richard Dreyfuss), an rural electrical lineman living in Muncie, Indiana with his wife, Ronnie (Terri Garr), and their three children.  One night, while working on a power outage, Roy has a “close encounter” with a UFO (unidentified flying object).  The encounter is so intense that the right side of Roy's face is lightly burned, and it also becomes a kind of metaphysical experience for Roy.  He becomes fascinated with the UFO and obsessed with some kind of mountain-like image that won't leave his mind.

Roy isn't the only one who has had a close encounter.  Single mother Jillian Guiler (Melinda Dillon) watches in horror as her three-year-old son, Barry Guiler (Cary Guffey), is abducted, apparently by a UFO.  Now, Roy and Jillian are headed to a place they have never been, Devils Tower in Moorcroft, Wyoming, where they will hopefully find answers to the questions plaguing their minds.

As I await the release of Steven Spielberg's semi-autobiographical film, The Fabelmans, I have been re-watching and, in some cases, watching for the first time, Spielberg's early films.  Thus far, I have watched Duel (the TV film that first got Spielberg noticed), The Sugarland Express (his debut theatrical film), and Jaws (which I have seen countless times).  I did not see Close Encounters of the Third Kind when it first arrived in movie theaters, but I finally got to watch it when it debuted on television.  I recently watched a DVD release of what is known as Close Encounters of the Third Kind: The Special Edition, a shortened (132 minutes long compared to the original's 135 minutes) and altered version of the film that Columbia Pictures released in August 1980.

The truth is that I have never been as crazy about Close Encounters of the Third Kind the way I have been about such Spielberg's films as Jaws, Raiders of the Lost Ark, and Jurassic Park.  I liked Close Encounters the first time I saw it (a few years after its theatrical release), but I had expected a lot from it after hearing such wonderful things about the film from acquaintances who had seen it in a theater.  I was a bit underwhelmed,.  I liked Close Encounters, but was not “wowed” by it, and was less so the second time I saw it a few years after the first time.

Close Encounters of the Third Kind is a combination of science fiction, adventure, drama, and mystery.  The drama works, especially when Spielberg depicts the trouble that Roy Neary's obsession causes his family and also the terror of the “attack” on Jillian Guiler and her son, Barry.  Roy's adventure and journey are quite captivating and result in the events of the film's final half hour, which is the part of the film that many consider to be marvelous.  Close Encounters' last act certainly offers an impressive display of special effects and a dazzling light show.

I am attracted to the sense of wonder and discovery that infuses much of Close Encounters of the Third Kind.  I think my problem is that it seems like three movies in one:  Claude Lacombe and Davie Laughlin's story, Roy's story, and the the big “close encounter” at Devils Tower.  None of them really gets the time to develop properly, so the film's overall narrative and also the character development are somewhat shallow.  There is a lot to like about Close Encounters of the Third Kind, and it is an impressive display of Spielberg's filmmaking skills.  However, I am done with it.  I don't need to see it again, although I am a huge fan of UFO-related media.  I simply cannot warm to Close Encounters of the Third Kind the way I have with other Spielberg films.

7 of 10
B+
★★★½ out of 4 stars

Thursday, October 27, 2022


NOTES:
1978 Academy Awards, USA:  2 wins: “Best Cinematography” (Vilmos Zsigmond) and a “Special Achievement Award” (Frank E. Warner for sound effects editing); 7 nominations: “Best Actress in a Supporting Role” (Melinda Dillon), “Best Director” (Steven Spielberg), “Best Art Direction-Set Decoration” (Joe Alves, Daniel A. Lomino, and Phil Abramson), “Best Sound” (Robert Knudson, Robert Glass, Don MacDougall, and Gene S. Cantamessa), “Best Film Editing” (Michael Kahn), “Best Effects, Visual Effects” (Roy Arbogast, Douglas Trumbull, Matthew Yuricich, Gregory Jein, and Richard Yuricich), and “Best Music, Original Score” (John Williams)

1979 BAFTA Awards:  1 win: Best Production Design/Art Direction (Joe Alves); 8 nominations: “Anthony Asquith Award for Film Music” (John Williams); “BAFTA Film Award     Best Cinematography” (Vilmos Zsigmond), “Best Direction” (Steven Spielberg), “Best Film,” “Best Film Editing” (Michael Kahn), “Best Screenplay” (Steven Spielberg), “Best Sound” (Gene S. Cantamessa, Robert Knudson, Don MacDougall, Robert Glass, Stephen Katz, Frank E. Warner, Richard Oswald, David M. Horton, Sam Gemette, Gary S. Gerlich, Chester Slomka, and Neil Burrow), and “Best Supporting Actor? (François Truffaut)

1978 Golden Globes, USA:  4 nominations: “Best Motion Picture – Drama,” “Best Director - Motion Picture” (Steven Spielberg), “Best Screenplay - Motion Picture” (Steven Spielberg), and “Best Original Score - Motion Picture” (John Williams)

2007 National Film Preservation Board, USA:  1 win: “National Film Registry”


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Review: "SLAP SHOT" is Still Top Shelf

TRASH IN MY EYE No. 4 of 2022 (No. 1816) by Leroy Douresseaux

Slap Shot (1977)
Running time:  123 minutes (2 hours, 3 minutes)
MPAA – R
DIRECTOR:  George Roy Hill
WRITER:  Nancy Dowd
PRODUCERS:  Stephen Friedman and Robert J. Wunsch
CINEMATOGRAPHER:  Vic Kemper
EDITOR:  Dede Allen

SPORTS/DRAMA/COMEDY

Starring:  Paul Newman, Strother Martin, Michael Ontkean, Jennifer Warren, Lindsay Crouse, Jerry Houser, Andrew Duncan, Jeff Carlson, Steve Carslon, David Hanson, Yvon Barrette, Allan F. Nichols, Brad Sullivan, Stephen Mendillo, Yvan Ponton, Matthew Cowles, and Kathryn Walker

Slap Shot is a 1977 sports comedy-drama film directed by George Roy Hill and starring Paul Newman.  The film focuses on a hockey coach and his minor league ice hockey team that finds success when they turn to violence in order to gain popularity in their hometown.

Slap Shot opens in the (fictional) New England small town of Charlestown.  The town's main business, the local mill, is about to lay off 10,000 workers.  That threatens the existence of the town's minor league hockey team, the Charlestown Chiefs, which is struggling with a losing season.  The hometown crowd is increasingly hostile, and the team's general manager, Joe McGrath (Strother Martin), is looking for another job, that is when he isn't trying to sell off team equipment.

After discovering that the team's ownership is going to fold the team, player-coach Reggie Dunlop (Paul Newman) concocts a plan to save the team and his job.  He tells his players that the team is going to be sold to a buyer in Florida, but in order to make the team attractive, they have to win and draw larger crowds.  Reggie encourages the recently acquired Hanson Brothers:  Steve (Steve Carlson), Jack (David Hanson), and Jeff (Jeff Carlson) to engage in the violent play they enjoy so much.  The brothers' aggressive violence and thuggish style of play excites the fans, so Reggie retools the team, encouraging his players to act like “goons.”  Soon, the team is actually winning games, and the victories and violence draw big crowds at home and on the road.  But how long can Reggie keep hiding the truth?

I had been putting off seeing Slap Shot for years, but recently, I got to see part of it on one of those retro Cinemax/Flix cable channels.  I couldn't believe how much I liked what I saw, so I decided to watch the entire movie.  Thanks to DVD.com (Netflix), I was able to do so.

It was worth it.  I'm not a big fan of sports movies, and I am quite particular about the ones I watch.  I thoroughly enjoyed Slap Shot, in large part because I am a fan of the late actor, Paul Newman (1925-2008).  Slap Shot is an odd movie, but in many ways it is a Paul Newman movie.

Yes, the elements of Slap Shot that involve minor league hockey:  struggling clubs, small town hockey fans, inconsiderate management and uncaring ownership, and professional hockey players on the less glamorous side of a professional career feel genuine.  There are times while watching this movie that I could believe that the Charlestown Chiefs were a real down-and-out minor league hockey team.  The small town setting seems authentic.  The supporting characters are quite interesting, and not just the now-legendary, delightful, and lovable Hanson Brothers.  Players like the wide-eyed Dave “Killer” Carlson (Jerry Houser) and the lascivious Morris "Mo" Wanchuk (Brad Sullivan) add color, spice, and edgy humor to Slap Shot.

However, Slap Shot is a Paul Newman movie.  The movie strikes a wonderfully odd tone, in large part because of the shifting tones of Newman's deft comic performance.  Reggie Dunlop is essentially having a midlife crisis, as he is about to lose the one and only thing he has in life – playing hockey.  It is certainly the thing he loves the most, and he clearly would not give it up in order to hold onto his wife, Francine Dunlop (Jennifer Warren).  Newman deftly navigates the shifting tones of Slap Shot – from riotous sports comedy to quirky character comedy-drama.  With a sly grin and roguish charm, Paul Newman's acting talent and star power carry Slap Shot through its inconsistencies and lapses in logic.  And when none of that works, Newman's lovely blue eyes step in to save the day.

Although it apparently was only a moderate box office success upon its first release, Slap Shot is one of those film that has gained new generations of fans through showings on cable television and home entertainment releases like VHS, DVD, and Blu-ray.  I hope it continues to find new fans because there is nothing else like it and because we should never forget Paul Newman.  Slap Shot is both unique and uniquely entertaining … and it has the Hanson Brothers, of course.

8 of 10
A

Friday, February 4, 2022


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Remembering Wes Craven: "The Hills Have Eyes" Review

TRASH IN MY EYE No. 106 (of 2004) by Leroy Douresseaux

The Hills Have Eyes (1977)
Running time:  89 minutes (1 hour, 29 minutes)
MPAA – X
EDITOR/WRITER/DIRECTOR:  Wes Craven
PRODUCER:  Peter Locke
CINEMATOGRAPHER:  Eric Saarinen (D.o.P.)
COMPOSER:  Don Peake

HORROR/THRILLER

Starring:  Susan Lanier, Robert Houston, Martin Speer, Dee Wallace, Russ Grieve, Virginia Vincent, John Steadman, James Whitmore, Lance Gordon, Michael Berryman, Janus Blythe, Cordy Clark, Brenda Marinoff, Peter Locke, and Flora

The Hills Have Eyes is a 1977 exploitation and horror film written, edited, and directed by Wes Craven.  The film follows a California-bound family that has the misfortune of having car trouble in an area closed to the public and inhabited by violent savages.

Big Bob Carter (Russ Grieve) and his wife, Ethel (Virginia Vincent), are taking their children, son-in-law, and baby granddaughter to California when they accidentally go through an Air Force testing range.  They crash their car and trailer and are stranded in the desert.  Later that night, as the family looks for help, a cannibalistic clan attacks the family.  One by one, the clan picks off family members until the inbred marauders have left only half the family alive.  It’s up to the remaining members to fight back, rescue the kidnapped infant, and seek vengeance against their savage attackers.

A low budget 70’s horror film by horror master, director Wes Craven, The Hills Have Eyes helped Craven’s then growing reputation as a maker of fright flicks, especially coming on the heels of Last House on the Left.  The monsters really aren’t supernatural monsters, but they’re like the killers in Last House – savage humans living beyond even the farthest boundaries of civilization.   They are such outcasts that even domestic pets have a higher place in society than they do.

Forget the assumptions about Craven as a horror filmmaker.  The Hills Have Eyes is also a dramatic thriller about people fighting for their survival, even if that fight means the brutal deaths of their antagonists.  The Hills Have Eyes isn’t a great film, but it has its moments.  And like the best thrillers and horror films, The Hills Have Eyes is unsettling, frank, raw, and unrefined.  It’s not among Craven’s best work, but deserves to be seen as part of his larger body of filmmaking.  The Hills Have Eyes is a must see for true horror fans, and Michael Berryman as Pluto has become an iconic image in the horror film genre.

5 of 10
C+

Revised: Monday, August 31, 2015


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Review: Ralph Bakshi's "Wizards" is Still Distinctive

TRASH IN MY EYE No. 82 (of 2003) by Leroy Douresseaux

Wizards (1977) – animation
Running time: 82 minutes (1 hour, 22 minutes)
MPAA – PG
WRITER/PRODUCER/DIRECTOR: Ralph Bakshi
EDITOR: Donald W. Ernst
COMPOSER: Andrew Belling

ANIMATION/FANTASY/SCI-FI/WAR

Starring: (voices) Bob Holt, Jim Connell, Steve Gravers, Jessie Welles, Susan Tyrrell, Richard Romanus, David Proval, Peter Hobbs, Barbara Sloane, Angelo Grisanti, Mark Hamill, and Adolf Hitler (archival audio recordings)

With very few Disney films to compete with his output in the 1970’s, Ralph Bakshi was certainly one of the best known directors of animation and one of the most controversial. Lacking the resources of an animation giant, Bakshi often had to be quite savvy in presenting his animated creations, mixing traditional cel animation with other techniques to make animated film, and that is the case with his 1977 film, Wizards.

Wizards is set on a post-apocalyptic Earth long after the horrors of a nuclear holocaust, when magic has returned to the earth. Avatar (Bob Holt), a good wizard, and his fairy folk comrades must battle Avatar’s evil brother Blackwolf (Steve Gravers), also a wizard, to save the world. Blackwolf has discovered a cache of 20th century weapons, tanks, and other long-forgotten instruments of war, as well as archival film footage of Adolf Hitler and of Nazi Germany. Blackwolf uses the Nazi propaganda films to whip his army of goblins and wraiths into a frenzy and sends them on to ravage Montagar, Avatar’s sanctuary of elves and fairies. Avatar, accompanied by a spirited young fairy-in-training Elinore (Jessie Welles) and a brave elf Weehawk (Richard Romanus) set off to Blackwolf’s kingdom of Scortch to stop him.

I liked the style of animation used in this film, which didn’t strive for realism, and was influenced by “underground” cartoonists, especially the work of the late Vaughn Bode. Bakshi also uses lots of rotoscoping, a process in which animators simply draw or add color over film footage to make it look “animated.” All the battle footage, including fighters, weapons, and tanks is simply hand drawing and coloring over footage from other war films or over archival documentary film. Coloring over film stock simply saved Bakshi and his crew from what would have been an impossible task, with their resources, of drawing battle scenes featuring hundreds of combatants and lots of weapons. However, what is drawn is very beautiful, and it really reminded me of cartoons and comic books. It’s not high-falutin,’ but it gives the tale a funky, out there feel. Some of the best work are the gorgeous still drawings by cartoonist Michael Ploog (who also did the storyboards for Michael Jackson’s “Smooth Criminal” video).

The story is a straight-on, blunt anti-war film. Wizards is a strong statement in the popularly held image of a hippie tradition against violence, hatred, and prejudice and for peace and love. Although it is not naïve, but it is an artistic statement based on seemingly impossible to reach ideals. I can’t help but respect what Bakshi did with this film; he delivered his message in an artistic medium that’s usually reserved for, at best, tepid commentary and for children’s entertainment, at least in American animation. The film drags a bit, and in the end, its ideal of a society based on love and peace is simplistic, underdeveloped, unrealistic, and impractical given human nature. But hey, it’s just a movie, right? However, because of the combination of the beautiful animation and colors and forceful delivery of its story about peace, Wizards is a unique film experience, unlike most live action films and most animated films you will ever see.

6 of 10
B

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Review: Original "Star Wars" is Still Powerful

TRASH IN MY EYE No. 67 (of 2004) by Leroy Douresseaux

Star Wars (1977)
Running time: 121 minutes (2 hours, 1 minute)
MPAA – PG
WRITER/DIRECTOR: George Lucas
PRODUCER: Gary Kurtz
CINEMATOGRAPHER: Gilbert Taylor (D.o.P)
EDITORS: Richard Chew, Paul Hirsch, and Marcia Lucas
COMPOSER: John Williams
Academy Award winner

SCI-FI/ACTION/ADVENTURE/FANTASY

Starring: Mark Hamill, Harrison Ford, Carrie Fisher, Peter Cushing, Alec Guinness, Anthony Daniels, Kenny Baker, Peter Mayhew, David Prowse, James Earl Jones (voice), Phil Brown, and Shelagh Fraser

Star Wars is a 1977 epic science fiction film, specifically a space opera, which is a genre of science fiction literature. For a time, Star Wars was the highest grossing film in movie box office history (when not adjusted for inflation). I believe that the film’s special effects (revolutionary for its time) and narrative purity (how straightforward the plot and story were) are two of the main reasons the film was so popular and had broad audience appeal. Star Wars may be entertainment and escapist entertainment, at that, but there are elements, ideas, and characters that ring true and feel familiar to the viewer.

A long time ago, in a galaxy far, far away a young farm boy, Luke Skywalker (Mark Hamill), joins the rebellion against an evil galactic empire. It starts when his Uncle Owen (Phil Brown) buys two druids, C-3PO (Anthony Daniels) and R2-D2 (Kenny Baker), sent by a rebel leader, Princess Leia (Carrie Fisher), with a message and coded information to an old Jedi Knight, Ben/Obi-Wan Kenobi (Alec Guiness).

Luke joins Obi-Wan, and with the help of a rakish smuggler, Han Solo (Harrison Ford), and his hairy compatriot, Chewbacca (Peter Mayhew), they embark on a mission to rescue the princess. But waiting for them is the Empire’s most dangerous weapon, the Death Star, and its most fearsome thug, Darth Vader (David Prowse with James Earl Jones providing the voice), and Luke is in for the fight of his young life.

Much has been made of Star Wars since its appearance in the summer of 1977; the story behind the film’s production and how it almost never made it to the big screen is a popular part of Hollywood film lore. Star Wars officially ushered in the era of the blockbuster film, as its box office take set the standard by which studios judged a film’s success. The film’s special effects, though seemingly dated, were considered a landmark achievement in the late 70’s and inspired SFX artist to reach higher.

In terms of art, Star Wars is a great film no matter how you cut it. The story is simple and straightforward, but it also hits on many mythological themes that resonate with audiences from diverse backgrounds. It’s the ultimate popcorn movie – a fantastic time at the cinema. Fun to watch and occasionally heart-stopping, Star Wars is epitome of the matinee movie’s promise of thrills and chills. When the lights in the theatre dim, Star Wars begins and takes you on an extraordinary journey to another place and time.

10 of 10

NOTES:
1978 Academy Awards: 7 wins: “Best Art Direction-Set Decoration” (John Barry, Norman Reynolds, Leslie Dilley, and Roger Christian), “Best Costume Design” (John Mollo), “Best Effects, Visual Effects” (John Stears, John Dykstra, Richard Edlund, Grant McCune, and Robert Blalack), “Best Film Editing” (Paul Hirsch, Marcia Lucas, and Richard Chew), “Best Music, Original Score” (John Williams), “Best Sound” (Don MacDougall, Ray West, Bob Minkler, and Derek Ball), and “Special Achievement Award” (Benjamin Burtt Jr. for sound effects, for the creation of the alien, creature and robot voices); 4 nominations: “Best Actor in a Supporting Role” (Alec Guinness), “Best Director” (George Lucas), “Best Picture” (Gary Kurtz), and “Best Writing, Screenplay Written Directly for the Screen” (George Lucas)

1979 BAFTA Awards: 2 wins: “Anthony Asquith Award for Film Music” (John Williams) and “Best Sound” (Sam Shaw, Robert R. Rutledge, Gordon Davidson, Gene Corso, Derek Ball, Don MacDougall, Bob Minkler, Ray West, Michael Minkler, Les Fresholtz, Richard Portman, and Ben Burtt); 4 nominations: “Best Costume Design” (John Mollo), “Best Film,” “Best Film Editing” (Paul Hirsch, Marcia Lucas, and Richard Chew), and “Best Production Design/Art Direction” (John Barry)

1978 Golden Globes: 1 win: “Best Original Score - Motion Picture” (John Williams); 3 nominations: “Best Director - Motion Picture” (George Lucas), “Best Motion Picture – Drama,” “Best Motion Picture Actor in a Supporting Role” (Alec Guinness)

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