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E.T. the Extra-Terrestrial (1982) (Film)

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Category: Letters, Art, and Passion (II)
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Released in 1982 and directed by the incomparable Steven Spielberg, "E.T. the Extra-Terrestrial" transcends the science fiction genre to establish itself as an emotional drama and a timeless adventure. Telling the story of the unlikely friendship between a lonely boy and a visitor from another planet, the film captured the imagination of millions, becoming a cultural landmark and one of the highest-grossing films of all time. Its magic lies in its ability to evoke the wonder of childhood, the pain of separation, and the universality of love and connection, leaving an indelible mark on cinema history.

Analysis and Plot

"E.T. the Extra-Terrestrial" transports us to the California suburbs, where the life of young Elliott (Henry Thomas), a ten-year-old boy who feels displaced following his parents' divorce, takes an extraordinary turn. One night, while searching for something in the backyard, Elliott discovers a creature from another world that was accidentally left behind by its spaceship. The being, with wrinkled skin, an elongated neck, and expressive eyes, quickly earns the nickname E.T.

Initially frightened, Elliott soon realizes the gentle and vulnerable nature of the alien, deciding to hide him in his room. With the help of his older brother, Michael (Robert MacNaughton), and his adorable younger sister, Gertie (Drew Barrymore), Elliott embarks on a journey to protect his new friend from the adult world, which is largely portrayed as a threat. The family home becomes a sanctuary for E.T., where he learns about human culture, develops a strong telepathic connection with Elliott, and reveals his burning desire to "phone home." The film's perspective is intentionally focused on the children's point of view, with the faces of adults (except for Mary, the mother) rarely shown until the third act, accentuating the secret world and innocence of the child protagonists.

The Emotional Climax and Unforgettable Ending

The plot reaches its peak when E.T.'s health deteriorates, and Elliott, who shares his condition due to their connection, also falls ill. E.T.'s presence is discovered by government agents and scientists, led by Keyes (Peter Coyote), who invade the house, turning it into a medical unit. The "death" scene of E.T., with the alien pale and inert, is one of the most traumatic and cathartic moments in commercial cinema, using white color and high contrast to create a morgue-like atmosphere, followed by Elliott's raw emotion. However, in a moment of pure magic, E.T. revives, revealing that his friends are returning. The subsequent escape, with the children on flying bicycles against the silhouette of the full moon, is one of the most iconic and moving scenes in film history, a symbol of hope and freedom. John Williams' masterful score amplifies this sequence, culminating in the farewell.

The film's ending is a bittersweet but deeply meaningful goodbye. E.T., as he says farewell to Elliott, points to the boy's head and says "I'll be right here," sealing an eternal connection that transcends physical distance. E.T.'s spaceship departs, leaving a rainbow trail in the sky, a symbol of hope and the magic that remains even after departure. This conclusion is not just the return of an alien to his home, but also a parable about growing up, overcoming loneliness, and discovering empathy. E.T.'s departure represents the end of Elliott's childhood, but also the legacy of a friendship that transformed him, showing that imagination can be an antidote to loneliness and that magic exists, even if it must eventually leave.

The Cast and Memorable Performances

The success of "E.T." owes much to the authentic performances of its young cast. Henry Thomas, in the role of Elliott, delivered an incredibly natural and moving performance, capturing the essence of a lonely boy who finds a friend in a being from another world. His ability to express complex emotions – from pure joy to the anguish of separation – was fundamental to the film's resonance.

Drew Barrymore, then only seven years old, shone as the adorable and spontaneous Gertie. Her sweetness and curiosity further humanized E.T. for the audience, and her reaction to discovering the alien is one of the highlights of humor and lightness in the narrative. Robert MacNaughton as Michael, the older brother, completes the trio of children, initially skeptical but soon becoming involved in protecting the visitor.

Dee Wallace plays Mary, the family's single mother. She is the only adult figure whose face is clearly shown for most of the film, representing the adult perspective that, while concerned, is initially oblivious to the extraordinary event under her roof. Peter Coyote, as the mysterious Keyes, personifies the adult and governmental world that seeks E.T., but which ultimately fails to understand the true nature of the connection between Elliott and the alien.

E.T.'s voice was a meticulous work by sound designer Ben Burtt, who created it from a mix of voices, including actress Pat Welsh (a chain-smoker whose raspy voice was recorded for nine and a half hours), actress Debra Winger, Steven Spielberg himself, and even sounds of raccoons and otters.

Behind the Scenes: Magic, Challenges, and Trivia

The genesis of "E.T." dates back to an imaginary friend that Spielberg created after his parents' divorce. Originally, the idea evolved into a darker science fiction project called "Night Skies," about malevolent aliens. However, during the filming of "Raiders of the Lost Ark," Spielberg asked screenwriter Melissa Mathison (then Harrison Ford's girlfriend) to develop a plot centered on the only benevolent alien from the "Night Skies" script and a boy from a broken home. The script, initially titled "E.T. and Me," was written by Mathison in just eight weeks.

The design of E.T. was a collaboration between Spielberg and special effects designer Carlo Rambaldi. Spielberg wanted the alien not to look like a monster, but to be vulnerable and have features that evoked empathy. Rambaldi was inspired by photos of Albert Einstein, Ernest Hemingway, and his own Himalayan cat for E.T.'s expressive eyes, in addition to a telescopic neck. The animatronic E.T. puppet cost $1.5 million and required up to 12 operators simultaneously to bring the creature to life on screen. For the walking scenes, miniatures were used, as well as a 12-year-old boy without legs who walked with his hands inside a special suit, and a professional mime with long fingers for the hand movements.

The production was conducted under extreme secrecy, with the working title "A Boy's Life," and all crew members wore identification badges. Spielberg chose to film in chronological order to facilitate more convincing emotional performances from the young cast. An interesting piece of trivia is that Henry Thomas landed the role of Elliott by using a trump card in his audition: memories of his little dog, who had recently passed away, helping him in the most emotional scenes. Furthermore, Spielberg directed most of the film from a child's perspective, positioning the camera at the eye level of the child actors, which contributes to the sense of suburban magical realism.

Initially, Spielberg wanted to use M&M's in the film, but the Mars Corporation refused the partnership. Hershey's then seized the opportunity, paying $1 million for their Reese's Pieces to be used, which resulted in a massive increase in candy sales after the film's release.

A notable scene that was cut from the film was a brief cameo by Harrison Ford as the principal of Elliott's school. The scene would have shown the principal reprimanding Elliott after the incident with the frogs in biology class. Spielberg decided to remove the scene, as Ford's recognizable voice could distract the audience, and he felt it was not essential to the narrative. The scene was only revealed in later DVD releases.

Controversies and Conflicting Interpretations

"E.T." was not without minor controversies and diverse interpretations. One of the most discussed is the one that associates the narrative with Christological parallels, where E.T. is seen as a messianic figure who descends to Earth, "dies," and resurrects, returning to heaven. E.T.'s "healing finger" and the rainbow at the end are cited as elements that reinforce this reading, with the film's poster, featuring the touching fingers, being a clear allusion to Michelangelo's Creation of Adam.

Another significant controversy arose with the film's 2002 re-release, in celebration of its 20th anniversary. Steven Spielberg made some digital changes, most notably replacing the federal agents' guns with walkie-talkies and changing a line from Elliott's mother from "terrorist" to "hippie" regarding her son's Halloween costume. These changes generated a strong negative reaction from fans and critics, who considered the alterations censorship and an attempt to "sanitize" a classic. Spielberg himself later expressed regret for the changes, stating that "E.T. was a product of its era" and that "no film should be revised based on current lenses."

There was also a subplot in the original script that suggested E.T. might have a kind of "crush" on Mary, Elliott's mother. Actress Dee Wallace revealed that she opposed a scene in which E.T. would leave Reese's Pieces on her nightstand, due to the way the sheet would cover her, considering it "inappropriate" and compromising the purity of the family film. The scene was adjusted to respect her concern.

Although not a controversy in the traditional sense, the origin of E.T.'s design was the target of comparisons with an earlier project, "The Alien," by Indian director Satyajit Ray, which was never produced but would have featured an alien with similar appearance and feelings, raising questions about influences and inspirations.

Reception, Legacy, and Cultural Impact

"E.T. the Extra-Terrestrial" was a resounding critical and commercial success from its release. It grossed $11.8 million on its opening weekend, covering its $10.5 million budget, and went on to gross a worldwide total of $797.3 million, becoming the highest-grossing film of all time for 11 years, until it was surpassed by another Spielberg film, "Jurassic Park." Critics universally acclaimed the film, considering it one of the greatest and most influential productions ever made.

The film received nine Academy Award nominations, including Best Picture and Best Director, winning in four categories: Best Original Score (John Williams), Best Visual Effects, Best Sound, and Best Sound Effects Editing. It also won five Saturn Awards and two Golden Globe Awards, including Best Motion Picture - Drama. Richard Attenborough himself, whose film "Gandhi" won the Oscar for Best Picture and Director that year, expressed that "E.T." should have won, calling it "inventive, powerful, and wonderful."

The legacy of "E.T." is immeasurable. The iconic image of Elliott and E.T. flying on a bicycle in front of the moon became the logo for Amblin Entertainment, Spielberg's production company. The film is frequently praised for its ability to evoke genuine emotions, from humor to tears. Critics like Roger Ebert described it as a film "like The Wizard of Oz, that you can grow up and grow old with, and it will not let you down," highlighting its timeless message of friendship and love. Spielberg's work influenced generations of filmmakers and inspired countless other productions, such as "Stranger Things" and "Super 8," by establishing the American suburb as fertile ground for the fantastic. It is a testament to the power of cinema to touch lives, heal wounds, and inspire dreams, remaining one of Spielberg's most personal films and an immortal classic of pop culture.

Sources Researched

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