This is the epoch we live in.
The big-hearted Spielbergian sci-fi of the s and 80s is largely dead, despite the best efforts of Christopher Nolan via the ambitious but tonally muddled Interstellar in For Spielberg, the experience of interaction with extra-terrestrials is one of gods, not guns. Neary has repeated, Moses-like visions of a mountain that turns out to be the landing site of the mothership, his sudden, overwhelming sense of purpose likened to a religious experience.
The aliens themselves are untouchable, godlike beings, whose presence seems to project a sense of peacefulness and awe — of amazing grace — to all who enter into it. Will we ever see the like of Close Encounters again? Fresh off the huge blockbuster success of Jaws two years previously — a paradigm-shifting moment in Hollywood history — Spielberg was in effect given carte blanche with his next project.
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He could probably have got away with making a six-hour epic about the mating habits of the giant sloth, so high was his standing in Tinseltown. But in Close Encounters, there are few real grown-ups to be found — just a cavalcade of awestruck Elliotts waiting to meet their best friends from the stars.
Facebook Twitter Pinterest. Topics Close Encounters of the Third Kind. Steven Spielberg Science fiction and fantasy films features. Reuse this content. Both scores were underappreciated when new. And while Mr.
Close Encounters Of The Third Kind
That Mr. One is a grand space opera, with catchy Wagnerian leitmotifs and blaring immensity; the other is atonal and elusive, full of amorphous sound that rarely coalesces into melody. But their differences are clear from the first measure.
Williams instead writes a swelling tone cluster of dissonant strings and wordless vocals, building an eerie tension that bursts and immediately recedes to a thick haze of high violins. And in that mystery is a lot of terror. Once contact is made, Mr. Steven C.
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