In a futuristic city sharply divided between the working class and the city planners, the son of the city's mastermind falls in love with a working class prophet who predicts the coming of a savior to mediate their differences.
A soldier from Earth crashlands on an alien world after sustaining battle damage. Eventually he encounters another survivor, but from the enemy species he was fighting; they band together ... See full summary »
Louis Gossett Jr.,
Roy Neary sets out to investigate a power outage when his truck stalls and he is bathed in light from above. After this, strange visions and five musical notes keep running through his mind. Will he find the meaning of the visions, and who - or what - placed them in his mind? Written by
Colin Tinto <email@example.com>
When Roy's family leaves him there is a low angle shot as he and his neighbors stare at each other. There is a Big Wheel at the end of the drive way. The Big Wheel is no longer there in the long shot showing him leaving the area. See more »
When I saw this first in the theatre I was blown away. It affected me profoundly. I thought the whole concept was fresh and new, the family strife, the yearning for and then actively seeking a higher concept for one's life, the mental breakdown of the main character as he tries to visualize what's inside his head: messages from alien beings.
Richard Dreyfus, Francois Truffaut, Teri Garr, Melinda Dillon, all perfectly cast. Along with Cary, the child actor who is brilliant.
As a microcosm of life in the seventies, the film is amazingly evocative, the perfect young family suburb, the children, the stay at home wife, the backyard barbecues. The husband who is a dreamer and when he starts to act it out, shatters this perfect home life.
Then the action moves to the mountain where the aliens are preparing to land. This scene got me in the theatre and gets me now. It is highly emotional. The music, the lights, the response of the mother ship. Highly charged cinematic moments.
However, and it is a big one. The transition of Richard Dreyfuss's character is far too sudden, he turns his back on children he obviously adores without any reflection whatsoever. How on earth would they survive in a seventies world without his income? Also Bob Balaban and Richard Dreyfuss are almost twin like in appearance and I kept getting them mixed up.
Francois Truffaut gave a fine performance as did many of the minor players. And the special affects - way before modern CGI - are breathtaking for their time.
Sometimes one is better leaving a movie seen in a theatre on its release exactly there: a one time viewing only. Seeing it for a second time removes the wonder and awe of that first viewing.
I would have given it a 9 the first time, this time a 6 so I calculated a 7 out of 10 to be fair.
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