Two parallel stories are told. In the first, a group of research scientists from a variety of backgrounds are investigating the strange appearance of items in remote locations, primarily desert regions. In continuing their investigation, one of the lead scientists, a Frenchman named Claude Lacombe, incorporates the Kodály method of music education as a means of communication in their work. The response, in turn, at first baffles the researchers, until American cartographer David Laughlin deciphers the meaning of the response. In the second, electric company lineman and family man Roy Neary and single mother Jillian Guiler are among some individuals in Muncie, Indiana who experience some paranormal activity before some flashes of bright lights in the sky, which they believe to be a UFO. Roy becomes obsessed with what he saw, unlike some others, especially in some form of authority, who refuse to acknowledge their belief that it was a UFO in not wanting to appear crazy. That obsession ...Written by
In the beginning of the film in the Sonoran Desert, from inside one of the World War II airplanes, they pull out a calendar that looks vintage from 1945. Across the grid of the days of a full month on the calendar is plainly seen a light blue logo from the defunct Security National Bank (which did not exist in 1945, either). In the fall of 1972, Security National Bank issued a 1973 calendar that corresponded exactly, month by month, day by day, to the 1945 calendar for fun. Thus, this unique idea was a promotional give away to the bank's customers. The props crew probably could not locate an authentic 1945 calendar, so instead they utilized the fake vintage calendar, which was not hard to find in 1976. See more »
In the tunnel, Roy is driving on the left (wrong) side of what appears to be a two-lane, two-way road. However, after his first encounter with the UFO, Roy's driving became very erratic and he is also seen scraping the side of the truck against a barrier, and even almost runs over Barry Guiler. See more »
[on the police inquiring about her missing son]
They asked me if I'd seen any strangers in the neighborhood.
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Near the end of the credits it starts to reads as follows: "During the filming of all animal sequences, H.L. EDWARDS, Veterinarian of Gillette, Wyoming, was in attendance at all times to aid the filmmakers and the anesthetist in proper treatment of the animals used, and at no time were the animals harmed or mistreated in any way." See more »
In the originally released "Special Edition," Laughlin has an extra line in the opening desert scene not present in the other two versions. As the Project Leader pulls out the 1945 calendar in the plane's cockpit, Laughlin can be overheard shouting, "You! Listen to me, will you?" This line is missing in the "Special Edition" on the 30th Anniversary Blu-ray and DVD. The 40th Anniversary 4K release and Blu-ray release corrects this, and the line is heard again whenever you select the "Special Edition". See more »
Aliens in Muncie make for Spielberg's Best Film Ever
Steven Spielberg has made huge popcorn blockbusters that gross more money at the box office (i.e. "Jaws," "Raiders of the Lost Ark," or "Jurassic Park") and are more exciting on a visceral level. As he as aged and matured as a director, he has also made movies that are more important and will hold a more solid place in the chronicles of film as an artistic document of history (i.e. "Schindler's List," "Saving Private Ryan," and "Munich"). For my money, his best film will still always be "Close Encounters of the Third Kind." This film is Spielberg's humanistic and heartfelt answer to Kubrick's intellectual and cerebral look at man's first contact with life from elsewhere in the universe in his 1968 opus "2001: A Space Odyssey."
"Close Encounters" came early on in Spielberg's career, made in 1977, and has all the hallmarks of his later films played just right before he became so self-referential. Here we have his typical bag of tricks long before they became so typical: familial strife, coming to terms with something bigger than oneself that challenges the male protagonist's view of the world around him, little kids in jeopardy, superb build up of suspense, fantastic visual effects, and a memorable score from John Williams. From the first UFO sightings in Muncie, Indiana to the fantastic finale at Devil's Tower in Wyoming, this is grand entertainment. Lots of films have emulated this movie to varying degrees of success, from Robert Zemeckis' earnest "Contact," to the shameful scam that was M. Night Shymalan's "Signs," and even Spielberg himself recently did the dark natured flip-side to benevolent alien encounters with his remake of "War of the Worlds" (which makes a fantastic double-feature with this). However, nothing compares to this true original. No other film has made me want to believe in aliens more, and I'll never look at a plate of mashed potatoes the same again.
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