Released in 1977, the same year "Star Wars" was revolutionizing outer space with its epic battles, Steven Spielberg presented the world with a radically opposite and deeply intimate perspective on extraterrestrial contact: "Close Encounters of the Third Kind." This science fiction classic, which transcends the genre with its spiritual and scientific approach, redefined humanity's role before the cosmos, transforming the alien "other" from a threat into a mirror of our own aspirations and longings, solidifying Spielberg's talent for narratives that unite the extraordinary with the deeply human.
Analysis and Plot
"Close Encounters of the Third Kind," written and directed by Steven Spielberg, is a cinematic odyssey that invites us to look at the sky with a mixture of fascination and wonder, rather than fear. The film builds a bridge between the everyday and the cosmic, focusing on the impact of the unknown on the lives of ordinary citizens, rather than intergalactic epics.
Complete Story Summary
The narrative begins with inexplicable events in various parts of the world. Planes from Flight 19, which disappeared in the Bermuda Triangle during World War II, reappear intact in the Mexican desert, without a crew. Simultaneously, a cargo ship, the SS Cotopaxi, is found stranded in the Gobi Desert. These phenomena are investigated by an international team of scientists led by the enigmatic French researcher Claude Lacombe (played by François Truffaut) and his cartographer and interpreter David Laughlin (Bob Balaban).
In a small town in Indiana, the life of electrician Roy Neary (Richard Dreyfuss) is turned upside down. While investigating a blackout, Roy witnesses a first-kind encounter with an Unidentified Flying Object (UFO) that hovers over his truck. His experience leaves him with a sunburned face and a growing obsession. He begins to have visions and feels an irresistible compulsion to sculpt a mountain out of mashed potatoes, clay, and even his own garden, to the despair of his wife Ronnie (Teri Garr) and his children.
In Muncie, Indiana, little Barry Guiler (Cary Guffey) is awakened by his toys moving on their own and is drawn by strange lights in the sky, culminating in his abduction by aliens, to the horror of his mother, Jillian Guiler (Melinda Dillon). Jillian also begins to have the same vision of the mountain as Roy, without understanding its meaning.
Roy and Jillian's visions lead them on a frantic search for the real mountain, which turns out to be Devil's Tower in Wyoming. Meanwhile, the government, led by Lacombe, attempts to isolate the Devil's Tower area, spreading false news about a toxic gas leak to keep the population away and prepare a contact site. Roy and Jillian, along with other individuals who have had similar experiences and share the same obsession, manage to break through the military blockade.
In the film's climax, they arrive at the landing site, where they witness the spectacular arrival of a gigantic alien mothership. Through a sequence of lights and musical sounds (the iconic five notes), humans and aliens establish harmonious communication, overcoming linguistic and cultural barriers. Some humans, previously selected, are invited to board the ship. Among them is Roy Neary, who decides to abandon his earthly life and his family for a journey into the unknown.
Detailed and In-depth Explanation of the Ending
The ending of "Close Encounters of the Third Kind" is undoubtedly one of the most iconic and discussed in the history of science fiction. Roy Neary, an ordinary man, decides to leave everything behind – his job, his home, his wife, and children – to board the alien ship. This decision is the culmination of his obsession and a profound psychological awakening, representing the search for a greater meaning in life, an existential crisis that finds its answer "out there."
Roy's departure can be seen as a powerful metaphor for human evolution and the detachment from old structures, suggesting that true progress may require a leap of faith into the unknown. The communication established through music and light, rather than aggression, reflects an optimistic and pacifist view of extraterrestrial contact, where science and art become bridges between civilizations.
However, Roy's decision to abandon his family is a point of contention for many viewers and critics, who question the morality of such an act. Steven Spielberg himself, in later interviews, admitted that if he were to make the film today, as a father, he would never allow Roy Neary to abandon his family. Richard Dreyfuss, on the other hand, who played Roy, respectfully disagreed with Spielberg, arguing that Roy had no choice but to go. This ambivalence reflects the depth of the ending, which, far from being simplistic, raises complex questions about personal responsibility, the call to the extraordinary, and the price of discovery.
Details on the Cast and Standout Performances
- Richard Dreyfuss (Roy Neary): His performance as an ordinary man transformed by a transcendental experience is the emotional heart of the film. Dreyfuss masterfully conveys Roy's growing obsession, family alienation, and childlike wonder, which lead him on a journey of self-discovery. Although Spielberg offered the role to several renowned actors such as Steve McQueen, Dustin Hoffman, Al Pacino, Jack Nicholson, Gene Hackman, and James Caan, they all turned it down before Dreyfuss accepted, having already worked with the director on "Jaws."
- François Truffaut (Claude Lacombe): The renowned French New Wave filmmaker delivers a restrained and charismatic performance as the scientist who embodies the methodical, yet equally awestruck, approach of science. His character, inspired by ufologist Jacques Vallée, unites scientific curiosity with a deep faith in the possibility of contact. Truffaut made it clear that he would act strictly as an actor, with no interest in helping as an assistant director.
- Melinda Dillon (Jillian Guiler): Dillon plays the desperate mother in search of her abducted son with moving vulnerability and intensity. Her performance earned her an Oscar nomination for Best Supporting Actress.
- Teri Garr (Ronnie Neary): As Roy's wife, Ronnie, Garr plays the role of the woman who cannot understand or endure her husband's obsession, culminating in his departure. Meryl Streep even auditioned for the role, but Teri Garr convinced the director after a commercial where she expressed various emotions in seconds.
- Cary Guffey (Barry Guiler): Little Barry represents innocence and purity in the face of the unknown, embracing the aliens without fear. Spielberg argues that childlike imagination is the basic requirement for contact, something Barry personifies.
Behind-the-Scenes Trivia
- Origin of the Project: The film was a long-term project for Spielberg, who began developing it in late 1973 under titles like "Watch the Skies" (inspired by "The Thing from Another World," with a post-Watergate and conspiracy theory vibe) and "Kingdom Come," evolving to involve the Air Force's Project Blue Book.
- Script and Collaborations: Although Spielberg receives the main credit for the script, he had contributions from several writers, including Paul Schrader, who asked to have his name removed from the credits due to Spielberg's substantial modifications.
- Bet with George Lucas: In a gesture of friendship, Spielberg and George Lucas bet 2.5% of the profits of their respective films released in 1977. Lucas, doubting the success of "Star Wars," bet that Spielberg's film would perform better. The bet earned Spielberg about 40 million dollars.
- The Five-Note Music: The iconic five-note musical sequence, created by John Williams, was the first thing to be done in production, a year before filming. Williams wanted seven notes, but Spielberg preferred five. A mathematician was consulted to calculate the 134,000 possible combinations from a 12-note scale; 100 versions were rejected before the final melody emerged spontaneously during dinner.
- The Role of J. Allen Hynek: Ufologist J. Allen Hynek, who created the "close encounters" classification from which the film takes its name (first kind: sighting, second kind: physical evidence, third kind: contact with beings), worked as a scientific consultant and makes a brief cameo at the end of the film.
- NASA Opposition: NASA wrote a 20-page letter to Spielberg asking him not to make the film, considering it "dangerous." Spielberg saw this as the motivation he needed, believing that "something must be happening" if the government was against it.
- Innovative Visual Effects and Challenges: "Close Encounters" was one of the first films to attempt to use computer-generated imagery (CGI) for aliens and ships. A scene of a UFO flying over a stadium took three weeks to make, making the idea impractical at the time, and most effects were done manually. Douglas Trumbull, known for his work on "2001: A Space Odyssey," was responsible for the visual effects, and Carlo Rambaldi created the aliens.
- Roy Neary's House: The production bought the Neary family home in Mobile, Alabama, for 35,000 dollars to be able to do whatever they wanted with it, selling it for 50,000 after the premiere.
- Aliens and Children: The small aliens in the film were played by local girls aged 8 to 12, as Spielberg felt they moved more gracefully.
- Improvised Dialogue: During the Neary family dinner scene, one of the children improvised the line "There's a fly in my mashed potatoes," which almost caused the cast to laugh, but it was kept in the final cut.
Controversies and Conflicting Interpretations of the Plot
The biggest "controversy" surrounding "Close Encounters of the Third Kind" lies in Roy Neary's final decision to abandon his family to board the alien ship. As mentioned, this choice generated and still generates intense debates about individual responsibilities and the fascination with the unknown. Some see Roy as selfish and irresponsible for leaving his family broken. Others interpret him as a man who found his true purpose and had the courage to follow it, representing a universal search for meaning that transcends earthly obligations. Spielberg, reflecting on the film years later, expressed that today, as a father, he would not have Roy abandon his children, adding a layer of complexity to the interpretation of the ending.
Another point of discussion is the different versions of the film. There are three main cuts: the Original Version (1977, 134 min.), the Special Edition (1980, 132 min.), and the Director's Cut (1998, 137 min.). The Special Edition was made under pressure from Columbia Pictures, which was in financial trouble and wanted a new marketing campaign that showed the interior of the mothership. Spielberg, although he added seven minutes of new scenes (such as the ship in the desert and the scene inside the ship), also cut ten minutes from the original version, resulting in a shorter film. He later declared that he should never have shown the interior of the ship. The Director's Cut, considered by Spielberg his legitimate "Definitive Version," reinstated almost all the scenes from the first two versions and eliminated the interior of the mothership.
Reception and Legacy of the Film
"Close Encounters of the Third Kind" was a resounding box office success, grossing about $305 million worldwide, becoming the third highest-grossing film of 1977. It was widely praised by critics, who considered it one of Spielberg's best films and a milestone in science fiction.
The film was nominated for nine Oscars, winning two: Best Cinematography (for Vilmos Zsigmond) and a Special Achievement Award for Sound Effects Editing. It also received Golden Globe and BAFTA nominations, winning the latter in the Best Art Direction category. Its cultural impact was immense, popularizing the theme of UFOs and extraterrestrial contact and influencing generations of filmmakers and artists.
Spielberg, with this film, solidified his reputation as a director capable of infusing a sense of wonder and humanity into large-scale narratives, paving the way for future classics like "E.T. the Extra-Terrestrial" (1982), which in many ways is considered a spiritual successor. The approach of "Close Encounters," which subverts the logic of threatening aliens and proposes a cosmic reconciliation through peaceful communication, reflected the spirit of optimism of part of the 1970s. The iconic soundtrack by John Williams, the innovative visual effects by Douglas Trumbull and Carlo Rambaldi, and the "Spielberg Face" – the use of close-ups to emphasize human vulnerability before the cosmos – became intrinsic elements of his cinematic language and the enduring legacy of this classic.
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