My 10-year old son watched an episode of the “The Goldbergs” this week where the lead child character watches “E.T.” in a movie theater for some untold multiple time. As a result, my son asked if we could watch this tonight. I watched it with him. Here are my thoughts …
1. This film still packs an emotional wallop. I still found myself tearing up on multiple occasions, even though I’ve seen “E.T.” several times over the years. Many people deride director Steven Spielberg as being “manipulative.” I cry “bulls–t” on that. Why is being called “manipulative” a bad thing for a film director? Because the filmmaker made you feel an actual emotion? Because you felt something in a film involving something fantastical instead of something “real”? I realize there’s enough rancid and depressing “real” s–t in this world to make you feel agony 50x over. But why is getting emotionally involved in something less than “real” a bad thing? This is what’s called “drama” and sometimes, it’s OK to be involved in a drama that has faint resemblance to reality. Especially when it’s done well.
2. The composer John Williams deserves at least 50 percent credit for the artistic success of the film. Not to deride Spielberg’s talent, but that score is one of the most emotional scores ever recorded. This is music that can raise your spirits to the highest highs and then completely devastate you at the drop of a hat. Williams has recorded many great and classic scores for filmmakers as diverse as Spielberg, George Lucas, Robert Altman, Brian De Palma and Oliver Stone. His score for “E.T.” is arguably his best because it’s such an integral part of the film’s power.
3. I realize I’m going to catch a lot of s–t from cinephiles for saying this … but the unspoken influence on “E.T” may be … Robert Altman. OK, I realize if Robert Altman directed this film, there would be 30 additional major characters and the extra-terrestrial part of the story would be reduced to a subplot … but stay with me here. During significant parts of this film (especially during the first half), there is an emphasis on naturalistic dialogue (helped by brilliant editing and sound design) that isn’t always in the foreground. You can hear what’s being said, but it’s way more subtle than a modern day filmmaker attacking similar material would allow. Assisting this are brilliant … extremely real … performances by Henry Thomas, Robert McNaughton, Drew Barrymore, Dee Wallace, and every other child actor in this film. Watching them interact together, you feel like you’re watching a real family interacting amongst each other and their friends.
4. For a special-effects central film from over 30 years ago, “E.T” holds up really well. Ignoring the obvious clothing and set design cues from 1981-82, the non-CGI effects hold up much better than many CGI-heavy films from the 1990s. Yes there are a few opticals that look out-of-date, but I’ll take those opticals over bad CGI any day. Why? Because you can do a lot with camera placement, editing, blocking, dialogue, set design, model building, and acting to make whatever limitations you have in special effects seem non-significant. Spielberg assembled a talented crew and the result is remarkable and believable.
5. Spielberg was a bit of closet hipster here. Not only can you here Jim Carroll’s “People Who Died” in the background while the boys are playing Dungeons & Dragons, Elliott’s brother Michael sings the lyrics from Elvis Costello’s “Accidents Will Happen” when he comes home from school and is looking through the fridge.
6.The final scene (shown above) is still amazing for its emotional intensity.
7. I realize hipsters claim “Jaws” and “Raiders of the Lost Ark” are Spielberg’s greatest films, but as great as those films are, “E.T.” is still the king.