1978 Israel MOVIE POSTER Film CLOSE ENCOUNTERS OF THE 3RD KIND Hebrew SPIELBERG

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Verkoper: judaica-bookstore (1.998) 100%, Objectlocatie: TEL AVIV, Verzending naar: Worldwide, Objectnummer: 273542360696 DESCRIPTION : Normal 0 false false false EN-US X-NONE HE Here for sale is an EXCEPTIONALY RARE and ORIGINAL almost 40 years old Hebrew-Israeli SMALL POSTER for the 1978 ISRAEL RAMAT GAN premiere of the legendary classic SCIENCE FICTION CULT awards winner and nominee film - movie " CLOSE ENCOUNTERS OF THE THIRD KIND " of the legendary director STEVEN SPIELBERG Starring , Among others : RICHARD DREYFUSS , FRANCOIS TRUFFAUT and TERI GARR . The Hebrew poster was created ESPECIALLY for the Israeli premiere of the film . Please note : This is Made in Israel authentic THEATRE POSTER , Which was published by the Israeli distributors of "CINEMA RAMAT GAN" in RAMAT GAN ISRAEL for the Israeli premiere projection of the film in 1978 . you can be certain that this surviving copy is ONE OF ITS KIND. Size around 7" x 12" . The poster is in very good condition. Clean and fresh. Will definitely disapear under a framed glass. ( Pls look at scan for accurate AS IS images ). Poster will be sent in a special protective rigid sealed package. PAYMENTS : Payment method accepted : Paypal. SHIPPING : Shipp worldwide via registered airmail is $17 . Poster will be sent in a special protective rigid sealed package. Handling within 3-5 days after payment. Estimated Int'l duration around 14 days. MORE DETAILS : Close Encounters of the Third Kind is a 1977 American science fiction film, written and directed by Steven Spielbergand featuring Richard Dreyfuss, François Truffaut, Melinda Dillon, Teri Garr, Bob Balaban, and Cary Guffey. It tells the story of Roy Neary, an everyday blue collar worker in Indiana, whose life changes after an encounter with anunidentified flying object (UFO). Close Encounters was a long-cherished project for Spielberg. In late 1973, he developed a deal with Columbia Picturesfor a science fiction film. Though Spielberg received sole credit for the script, he was assisted by Paul Schrader, John Hill, David Giler, Hal Barwood, Matthew Robbins, and Jerry Belson, all of whom contributed to the screenplay in varying degrees. The title is derived from UFO-ologist J. Allen Hynek's classification of close encounters with aliens, in which the third kind denotes human observations of aliens or "animate beings." Douglas Trumbull served as the visual effects supervisor, while Carlo Rambaldi designed the aliens. Made on a production budget of $18 million, Close Encounters was released in a limited number of cities on November 23, 1977 before expanding into a wide release the following month.[2] It was a critical and financial success, eventually grossing over $337 million worldwide. A Special Edition of the film, featuring additional scenes, was issued in 1980. A third cut of the film was released to home video and laserdisc in 1998 (and later DVD and Blu-ray). The film received numerous awards and nominations at the 50th Academy Awards, 32nd British Academy Film Awards, the 35th Golden Globe Awards, the Saturn Awards and has been widely acclaimed by the American Film Institute. In December 2007, it was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry.[3] Contents [hide] · 1Plot · 2Cast · 3Production o 3.1Development o 3.2Filming o 3.3Visual effects o 3.4Post-production · 4Soundtrack o 4.11977 original album o 4.21998 Collector's Edition · 5Themes · 6Release o 6.1Reception o 6.2Reissue and home video o 6.3Legacy · 7References o 7.1Notes o 7.2Bibliography · 8Further reading · 9External links Plot[edit] In the Sonoran Desert, French scientist Claude Lacombe (François Truffaut) and his American interpreter, mapmaker David Laughlin (Bob Balaban), along with other government scientific researchers, discover Flight 19, a squadron of Grumman TBM Avengers that went missing more than 30 years earlier. The planes are intact and operational, but there is no sign of the pilots. An old man who witnessed the event claimed "the sun came out at night, and sang to him." They also find a lost cargo ship in the Gobi Desert named SS Cotopaxi. At an air traffic control center in Indianapolis, a controller listens as two airline flights narrowly avoid a mid-air collision with an apparent unidentified flying object (UFO), which neither pilot chooses to report, even when invited to do so. In Muncie, Indiana, 3-year-old Barry Guiler (Cary Guffey) is awakened in the night when his toys start operating on their own. Fascinated, he gets out of bed and discovers something or someone (off-screen) in the kitchen. He runs outside, forcing his mother, Jillian (Melinda Dillon), to chase after him. Investigating one of a series of large-scale power outages, Indiana electrical lineman Roy Neary (Richard Dreyfuss) experiences a close encounter with a UFO, when it flies over his truck and lightly burns the side of his face with its bright lights. The UFO, joining a group of three other UFOs, is pursued by Neary and three police cars, but the spacecraft fly off into the night sky. Roy becomes fascinated by UFOs, much to the dismay of his wife, Ronnie (Teri Garr). He also becomes increasingly obsessed with subliminal, mental images of a mountain-like shape and begins to make models of it. Jillian also becomes obsessed with sketching a unique-looking mountain. Soon after, she is terrorized in her home by a UFO encounter in which Barry is abducted by unseen beings. Lacombe and Laughlin—along with a group of United Nations experts—continue to investigate increasing UFO activity and strange, related occurrences. Witnesses inDharamsala, India report that the UFOs make distinctive sounds: a five-tone musical phrase in a major scale. Scientists broadcast the phrase to outer space, but are mystified by the response: a seemingly meaningless series of numbers (104 44 30 40 36 10) repeated over and over until Laughlin, with his background incartography, recognizes it as a set of geographical coordinates. The coordinates point to Devils Tower near Moorcroft, Wyoming. Lacombe and the U.S. military converge on Wyoming. The United States Army evacuates the area, planting false reports in the media that a train wreck has spilled a toxic nerve gas, all the while preparing a secret landing zone for the UFOs and their occupants. Meanwhile, Roy's increasingly erratic behavior causes Ronnie to leave him, taking their three children with her. When a despairing Roy inadvertently sees a television news program about the train wreck near Devils Tower, he realizes the mental image of a mountain plaguing him is real. Jillian sees the same broadcast, and she and Roy, as well as others with similar visions and experiences, travel to the site in spite of the public warnings about nerve gas. While most of the civilians who are drawn to the site are apprehended by the Army, Roy and Jillian persist and make it to the site just as dozens of UFOs appear in the night sky. The government specialists at the site begin to communicate with the UFOs by use of light and sound on a large electrical billboard. Following this, an enormous mother ship lands at the site, releasing animals and over a dozen long-missing adults and children, all from different past eras. Among these returned abductees include the missing pilots from Flight 19 and sailors from the Cotopaxi, all of whom have strangely not aged since their abductions. Barry is also returned and reunited with a relieved Jillian. The government officials decide to include Roy in a group of people whom they have selected to be potential visitors to the mothership, and hastily prepare him. As the aliens finally emerge from the mothership, they select only Roy to join them on their travels. As Roy enters the mothership, one of the aliens pauses for a few moments with the humans. Lacombe uses Curwen hand signs that correspond to the five-note alien tonal phrase. The alien replies with the same gestures, smiles, and returns to its ship, which ascends into the galaxy. Cast[edit] · Richard Dreyfuss as Roy Neary, an electrical lineman in Indiana who encounters and forms an obsession with unidentified flying objects. Steve McQueen was Spielberg's first choice. Although McQueen was impressed with the script, he felt he was not right for the role as he was unable to cry on cue. Dustin Hoffman, Al Pacino and Gene Hackman turned down the part as well.[4] Jack Nicholson turned it down because of scheduling conflicts. Spielberg explained when filming Jaws, "Dreyfuss talked me into casting him. He listened to about 155 days' worth of Close Encounters. He even contributed ideas."[5] Dreyfuss reflected, "I launched myself into a campaign to get the part. I would walk by Steve's office and say stuff like 'Al Pacino has no sense of humor' or 'Jack Nicholson is too crazy'. I eventually convinced him to cast me."[4] · François Truffaut as Claude Lacombe, a French government scientist in charge of UFO-related activities in the United States. Gérard Depardieu, Philippe Noiret,Jean-Louis Trintignant and Lino Ventura were considered for the role. During filming, Truffaut used his free time to write the script for The Man Who Loved Women. He also worked on a novel titled The Actor, a project he abandoned.[6] · Melinda Dillon as Jillian Guiler, Barry's mother. She forms a similar obsession to Roy's, and the two become friends. Teri Garr wanted to portray Jillian, but was cast as Ronnie. Hal Ashby, who worked with Dillon on Bound for Glory, suggested her for the part to Spielberg. Dillon was cast three days before filming began.[4] · Teri Garr as Veronica "Ronnie" Neary, Roy's wife. Amy Irving also auditioned for the role.[7] · Cary Guffey as Barry Guiler, Jillian's young child abducted in the middle of the film. Spielberg conducted a series of method acting techniques to help Guffey, who was cast when he was just three years old.[4] · Bob Balaban as David Laughlin, Lacombe's assistant and English-French interpreter. They meet for the first time in the Sonoran Desert at the beginning of the film. His former position as a cartographer allows him to interpret the alien signals as coordinates leading to the meeting at Devils Tower. · Josef Sommer as Larry Butler, a man who meets Roy and Jillian in Wyoming and attempts to scale Devils Tower with them. · Lance Henriksen as Robert, Lacombe's assistant · Roberts Blossom as Farmer, a radical who claims to have seen Bigfoot. J. Allen Hynek and Stanton T. Friedman make cameo appearances in the closing scene. Spielberg's friends Hal Barwood and Matthew Robbins cameo as two World War II pilots returning from the mother ship. Real-life ARP technician Phil Dodds cameos as the operator of the ARP 2500 synthesizer communicating with the alien ship. Musician Jerry Garcia also makes an appearance in the crowd scene. Carl Weathers appeared as a soldier in the film. Production[edit] Development[edit] The film's origins can be traced to director Steven Spielberg's youth, when he and his father watched a meteor shower in New Jersey.[4] As a teenager, Spielberg completed the full-length science fiction film Firelight. Many scenes from Firelight would be incorporated in Close Encounters on a shot-for-shot basis.[8] In 1970 he wrote a short story called Experiences about a lovers' lane in a Midwestern United States farming community and the "light show" a group of teenagers see in the night sky.[9] In late 1973, during post-production on The Sugarland Express, Spielberg developed a deal with Columbia Pictures for a science fiction film. 20th Century Fox previously turned down the offer.[9] Julia and Michael Phillips instantly signed on as producers.[10] He first considered doing a documentary or a low-budget feature film about people who believed in UFOs. Spielberg decided "a film that depended on state of the arttechnology couldn't be made for $2.5 million."[9] Borrowing a phrase from the ending of The Thing from Another World, he retitled the film Watch the Skies, rewriting the premise concerning Project Blue Book and pitching the concept to Willard Huyck and Gloria Katz. Katz remembered "It had flying saucers from outer space landing on Robertson Boulevard [in West Hollywood, California]. I go, 'Steve, that's the worst idea I ever heard."[9] Spielberg brought Paul Schrader to write the script in December 1973 with principal photography to begin in late-1974. However, Spielberg started work on Jaws in 1974, pushing Watch the Skies back.[9] With the financial and critical success of Jaws, Spielberg earned a vast amount of creative control from Columbia, including the right to make the film any way he wanted.[11] Schrader turned in his script, which Spielberg called, "one of the most embarrassing screenplays ever professionally turned in to a major film studio or director. It was a terribly guilt-ridden story not about UFOs at all."[5] Titled Kingdom Come, the script's protagonist was a 45-year-old Air Force Officer named Paul Van Owen who worked with Project Blue Book. "[His] job for the government is to ridicule and debunk flying saucers." Schrader continued. "One day he has an encounter. He goes to the government, threatening to blow the lid off to the public. Instead, he and the government spend 15 years trying to make contact."[5] Spielberg and Schrader experienced creative differences, hiring John Hill to rewrite.[5] At one point the main character was a police officer.[4] Spielberg "[found] it hard to identify with men in uniform. I wanted to have Mr. Everyday Regular Fella." Spielberg rejected the Schrader/Hill script during post-production on Jaws.[5] He reflected, "they wanted to make it like a James Bond adventure."[12] David Giler performed a rewrite; Hal Barwood and Matthew Robbins,[4] friends of Spielberg, suggested the plot device of a kidnapped child. Spielberg then began to write the script. The song "When You Wish upon a Star" from Pinocchio influenced Spielberg's writing style. "I hung my story on the mood the song created, the way it affected me personally."[5] Jerry Belson and Spielberg wrote the shooting script together. In the end, Spielberg was given solo writing credit.[5] During pre-production, the title was changed from Kingdom Come to Close Encounters of the Third Kind.[11] J. Allen Hynek, who worked with the United States Air Force on Project Blue Book, was hired as a scientific consultant. Hynek felt "even though the film is fiction, it's based for the most part on the known facts of the UFO mystery, and it certainly catches the flavor of the phenomenon. Spielberg was under enormous pressure to make another blockbuster after Jaws, but he decided to make a UFO movie. He put his career on the line."[5] USAF and NASA declined to cooperate on the film.[11] In fact, NASA reportedly sent a 20-page letter to Spielberg, telling him that releasing the film was dangerous. [13] In an interview, he said: "I really found my faith when I heard that the Government was opposed to the film. If NASA took the time to write me a 20-page letter, then I knew there must be something happening." [14] Filming[edit] Devils Tower in Wyoming was used as a filming location Principal photography began on May 16, 1976, though an Associated Press report in August 1975 had suggested filming would start in late 1975.[15] Spielberg did not want to do any location shooting because of his negative experience on Jawsand wanted to shoot Close Encounters entirely on sound stages, but eventually dropped the idea.[16] Filming took place in Burbank, California; Devils Tower National Monument in Wyoming; two abandoned World War II airship hangars at the former Brookley Air Force Base in Mobile, Alabama; and the Louisville and Nashville Railroad depot in Bay Minette. The home where Barry was abducted is located outside the town of Fairhope, Alabama. Roy Neary's home is at Carlisle Drive East in Mobile. The UFOs fly through the former toll booth at the Vincent Thomas Bridge, San Pedro, California. The Gobi Desert sequence was photographed at the Dumont Dunes, California, and the Dharmsala-India exteriors were filmed at the small village of Hal near Khalapur, 35 miles (56 km) outside Bombay, India.[16] The hangars in Alabama were six times larger than the biggest sound stage in the world.[11][17] Various technical and budgetary problems occurred during filming. Spielberg called Close Encounters "twice as bad and twice as expensive [as Jaws]".[5] Matters worsened when Columbia Pictures experienced financial difficulties. Spielberg estimated the film would cost $2.7 million to make in his original 1973 pitch to Columbia, but the final budget came to $19.4 million.[11] Columbia studio executive John Veich remembered, "If we knew it was going to cost that much, we wouldn't have greenlighted it because we didn't have the money."[11] Spielberg hired Joe Alves, his collaborator on Jaws, as production designer.[6] In addition the 1976 Atlantic hurricane season brought tropical storms to Alabama. A large portion of the sound stage in Alabama was damaged because of a lightning strike.[4] Columbia raised $7 million from three sources: Time Inc., EMI, and German tax shelters.[18] Cinematographer Vilmos Zsigmond said that, during the time of shooting for the film, Spielberg got more ideas by watching movies every night which in turn extended the production schedule because he was continually adding new scenes to be filmed.[5] Zsigmond previously turned down the chance to work on Jaws. In her 1991 book You'll Never Eat Lunch in This Town Again, producer Julia Phillips wrote highly profane remarks about Spielberg, Zsigmond, and Truffaut, because she was fired during post-production due to a cocaine addiction. Phillips blamed it on Spielberg being a perfectionist.[11] Visual effects[edit] Douglas Trumbull was the visual effects supervisor, while Carlo Rambaldi designed the aliens. Trumbull joked that the visual effects budget, at $3.3 million, could have been used to produce an additional film. His work helped lead to advances in motion control photography. The mother ship was designed by Ralph McQuarrieand built by Greg Jein. The look of the ship was inspired by an oil refinery Spielberg saw at night in India.[5] Instead of the metallic hardware look used in Star Wars, the emphasis was on a more luminescent look for the UFOs. One of the UFO models was an oxygen mask with lights attached to it, used because of its irregular shape. As a subtle in-joke, Dennis Muren (who had just finished working on Star Wars) put a small R2-D2 model onto the underside of the mothership.[4] The model of the mothership is now on display in the Smithsonian Institution's Air and Space Museum Udvar-Hazy Annex at Washington Dulles Airport in Chantilly, Virginia.[4] Since Close Encounters was filmed anamorphically, the visual effects sequences were shot in 70 mm film to better conform with the 35 mm film used for the rest of the movie. A test reel using computer-generated imagery was used for the UFOs, but Spielberg found it would be too expensive and ineffective since CGI was in its infancy in the mid-1970s.[4] The small aliens in the final scenes were played by local girls in Mobile, Alabama. That decision was requested by Spielberg because he felt "girls move more gracefully than boys."[4] Puppetry was attempted for the aliens, but the idea failed. However, Rambaldi successfully used puppetry to depict two of the aliens, the first being a marionette (for the tall alien that is the first to be seen emerging from the mothership) and an articulated puppet for the alien that communicates via hand signals with Lacombe near the end of the film.[4] Post-production[edit] Close Encounters is the first collaboration between film editor Michael Kahn and Spielberg. Their working relationship has continued for the rest of Spielberg's films. Spielberg stated that no film he has ever made since has been as hard to edit as the last 25 minutes of Close Encounters and he and Kahn would go through thousands of feet of footage just to find the right shots for the end sequence. When Kahn and Spielberg completed the first cut of the film, Spielberg was dissatisfied, feeling "there wasn't enough wow-ness".[4] Pick-ups were commissioned but cinematographer Vilmos Zsigmond could not participate due to other commitments.[11] John A. Alonzo, László Kovács, and Douglas Slocombe worked on the pick-ups.[11] Lacombe was originally to find Flight 19 hidden in the Amazon Rainforest, but the idea was changed to the Sonoran Desert. Composer John Williams wrote over 300 examples of the iconic five-tone motif before Spielberg chose the one used in the film. Spielberg called Williams' work "When You Wish upon a Star meets science fiction".[4] Spielberg wanted to have "When You Wish upon a Star" in the closing credits, but was denied permission (though the song's signature melody can be heard briefly just before Roy Neary turns to board the mothership). He also took 7.5 minutes out from the preview.[6] Post-production was completed by June 1977,[citation needed] too late for the film to be released as a 'summer blockbuster' which might have been just as well, as Star Wars opened that summer. Soundtrack[edit] John Williams Soundtrack album Original 1977 soundtrack album Soundtrack album by John Williams Released 1977 / 1998 (Collector's Edition) Length 41 mins (Original album and cassette) 44 mins (re-issued cassette) 77 mins (Collector's Edition CD) Label Arista Producer John Williams John Williams chronology Star Wars Episode IV: A New Hope Close Encounters of the Third Kind Jaws 2 Alternative cover 1998 Collector's Edition soundtrack Professional ratings Review scores Source Rating AllMusic Filmtracks The score was composed, conducted and produced by John Williams, who had previously won an Academy Award for his work on Spielberg's Jaws. Much like his two-note Jaws theme, the "five-tone" motif for Close Encounters has since become ingrained in popular culture (the five tones are used by scientists to communicate with the visiting spaceship as a mathematical language as well as being incorporated into the film's signature theme). The score was recorded at Warner Bros. Scoring studios in Burbank, California. Williams was nominated for two Academy Awards in 1978, one for his score toStar Wars and one for his score to Close Encounters. He won for Star Wars, though he later won two Grammy Awards in 1979 for his Close Encountersscore (one for Best Original Film Score and one for Best Instrumental Composition for "Theme from Close Encounters").[19] The soundtrack album was released on vinyl album (with a gatefold sleeve), 8-track tape and audio cassette by Arista Records in 1977, with a total running time of 41 minutes (it was later released on compact disc in 1990). The soundtrack album was a commercial success, peaking at #17 on the US Billboard album chart in February 1978 and was certified Gold by the RIAA for 500,000 copies shipped.[20] It also peaked at #40 in the UK album charts.[21] Although not included on the original soundtrack album, a 7" single of a disco treatment of the five-note motif, titled, "Theme from Close Encounters of the Third Kind", was included with the album as a free bonus item. Despite being a giveaway, Billboard chart rules at that time allowed the single itself to chart, and it peaked at #13 on the US Billboard Hot 100 in March 1978. The single was later added as a bonus track to the cassette. Following the release of the "Collector's Edition" of the film in 1998, a new expanded soundtrack was released oncompact disc by Arista. The "Collectors Edition Soundtrack" was made using 20-bit digital remastering from the original tapes, and contained 26 tracks totalling 77 minutes of music. The CD also came with extensive liner notes including an interview with Williams. Cues were given new titles, and it also contained previously unreleased material, as well as material that was recorded but never used in the film. 1977 original album[edit] [show]Side A [show]Side B † 1978 reissue - bonus track (cassette), free bonus 7" single (vinyl album). 1998 Collector's Edition[edit] [show]Track listing Themes[edit] Film critic Charlene Engel observed Close Encounters "suggests that humankind has reached the point where it is ready to enter the community of the cosmos. While it is a computer which makes the final musical conversation with the alien guests possible, the characteristics bringing Neary to make his way to Devils Tower have little to do with technical expertise or computer literacy. These are virtues taught in schools that will be evolved in the 21st century."[22] The film also evokes typical science fiction archetypes and motifs. The film portrays new technologies as a natural and expected outcome of human development and indication of health and growth.[22] Other critics found a variety of Judeo-Christian analogies. Devils Tower parallels Mount Sinai, the aliens as God and Roy Neary as Moses. Cecil B. DeMille's The Ten Commandments is seen on television at the Neary household. Some found close relations between Elijah and Roy; Elijah was taken into a "chariot of fire", akin to Roy going in the UFO. Climbing Devils Tower behind Jillian and faltering, Neary exhorts Jillian to keep moving and not to look back, similar to Lot's wife who looked back atSodom and turned into a pillar of salt.[22] Spielberg explained, "I wanted to make Close Encounters a very accessible story about the everyday individual who has a sighting that overturns his life, and throws it into complete upheaval as he starts to become more and more obsessed with this experience."[17] Roy's wife Ronnie attempts to hide the sunburn caused by Roy's exposure to the UFOs and wants him to forget his encounter with them. She is embarrassed and bewildered by what has happened to him and desperately wants her ordinary life back. The expression of his lost life is seen when he is sculpting a huge model of Devils Tower in his living room, with his family deserting him.[22] Roy's obsession with an idea implanted by an alien intelligence, his construction of the model, and his gradual loss of contact with his wife, mimic the events in the short story "Dulcie and Decorum" (1955) by Damon Knight. Close Encounters also studies the form of "youth spiritual yearning". Barry Guiler, the unfearing child who refers to the UFOs and their paraphernalia as "toys" (although that was unscripted, with the child being drawn to smile by being shown toys offstage), serves as a motif for childlike innocence and openness in the face of the unknown.[22] Spielberg also compared the theme of communication as highlighting that of tolerance. "If we can talk to aliens in Close Encounters of the Third Kind," he said, "why not with the Reds in the Cold War?"[23] Sleeping is the final obstacle to overcome in the ascent of Devils Tower. Roy, Jillian Guiler and a third invitee climb the mountain pursued by government helicopters spraying sleeping gas. The third person stops to rest, is gassed, and falls into a deep sleep.[22] In his interview with Spielberg on Inside the Actors Studio, James Lipton suggested Close Encounters had another, more personal theme for Spielberg: "Your father was a computer engineer; your mother was a concert pianist, and when the spaceship lands, they make music together on the computer", suggesting that Roy Neary's boarding the spaceship is Spielberg's wish to be reunited with his parents. In a 2005 interview, Spielberg stated that he made Close Encounters when he did not have children, and if he were making it today, he would never have had Neary leave his family and go on the mother ship.[24] Release[edit] Reception[edit] The film was originally to be released in summer 1977, but was pushed back to November because of the various problems during production.[6] Upon its release,Close Encounters became a box office success, grossing $116.39 million in North America and $171.7 million in foreign countries, totaling $288 million.[25] It becameColumbia Pictures' most successful film at that time.[17] Jonathan Rosenbaum refers to the film as "the best expression of Spielberg's benign, dreamy-eyed vision."[26]A.D. Murphy of Variety gave a positive review but felt "Close Encounters lacks the warmth and humanity of George Lucas's Star Wars". Murphy found most of the film slow-paced, but praised the film's climax.[27] Pauline Kael called it "a kid's film in the best sense."[8] Jean Renoir compared Spielberg's storytelling to Jules Verne andGeorges Méliès.[7] Ray Bradbury declared it the greatest science fiction film ever made.[28] Based on 46 reviews collected by Rotten Tomatoes, 96% ("Certified Fresh") of the reviewers have enjoyed the film and the site's consensus states "Close Encounters' most iconic bits (the theme, the mashed-potato sculpture, etc.) have been so thoroughly absorbed into the culture that it's easy to forget that its treatment of aliens as peaceful beings rather than warmongering monsters was somewhat groundbreaking in 1977."[29] Reissue and home video[edit] On the final cut privilege, Spielberg was dissatisfied with the film. Columbia Pictures was experiencing financial problems, and they were depending on this film to save their company. "I wanted to have another six months to finish off this film, and release it in summer 1978. They told me they needed this film out immediately," Spielberg explained. "Anyway, Close Encounters was a huge financial success and I told them I wanted to make my own director's cut. They agreed on the condition that I show the inside of the mother ship so they could have something to hang a [reissue marketing] campaign on. I never should have shown the inside of the mother ship."[4] In 1979, Columbia gave Spielberg $1.5 million to produce what became the "Special Edition" of the film. Spielberg added seven minutes of new footage, but also deleted or shortened various existing scenes by a total of ten minutes, so that the Special Edition was three minutes shorter than the original 1977 release.[7] The Special Edition featured several new character development scenes, the discovery of the SS Cotopaxi in the Gobi Desert, and a view of the inside of the mothership. Close Encounters of the Third Kind: The Special Edition was released in August 1980, making a further $15.7 million, accumulating a final $303.7 million box office gross.[7][25] Roger Ebert "thought the original film was an astonishing achievement, capturing the feeling of awe and wonder we have when considering the likelihood of life beyond the Earth. ... This new version ... is, quite simply, a better film ... Why didn't Spielberg make it this good the first time?"[30] The 1980 Special Edition was the version officially available on video for years, until The Criterion Collection offered both versions on LaserDisc in 1990.[31] This triple-disc LaserDisc set also included an interactive "Making Close Encounters" documentary featuring interviews with Spielberg and other cast and crew involved with the film, as well as stills and script excerpts. In 1998, Spielberg recut Close Encounters again for what would become the "Collector's Edition," to be released on home video and laserdisc. This version of the film is a re-edit of the original 1977 release with some elements of the 1980 Special Edition, but omits the mothership interior scenes which Spielberg felt should have remained a mystery. The laserdisc edition also includes a new 101-minute documentary, The Making of Close Encounters, which was produced in 1997 and features interviews with Spielberg, the main cast and notable crew members. There have also been many other alternate versions of the film for network and syndicated television, as well as a previous LaserDisc version. Some of these even combined all released material from the 1977 and 1980 versions, but none of these versions were edited by Spielberg, who regards the "Collector's Edition" as his definitive version of Close Encounters. The Collector's Edition was given a limited release as part of a roadshow featuring select films to celebrate Columbia Pictures' 75th anniversary in 1999. It was the first and only time this version of the film has been shown theatrically. Close Encounters was released on DVD in June 2001 as a two-disc set that contained the "Collector's Edition".[32] The second disc contained a wealth of extra features including the 101-minute "Making Of" documentary from 1997, a featurette from 1977, trailers and deleted scenes that included, among other things, the mothership interiors from the 1980 Special Edition. Close Encounters was given a second DVD release and its first release on Blu-ray Disc in November 2007 for the film's 30th anniversary. These sets contain all three official versions of the film from 1977, 1980 and 1998, and a new 2007 interview with Spielberg, who talks about the film's impact 30 years after its release. The set also includes the 1977 featurette, various trailers and the 1997 "Making Of" documentary – though this is now split over three discs on the DVD version rather than as a single feature as with the 2001 DVD release (on the Blu-ray release, it remains all on one disc). In addition to these features, the 2-disc Blu-ray set also included storyboard-to-scene comparisons, an extensive photo gallery, and a "View from Above: Editor's Fact Track" highlighting the different scenes in each version of the movie. A single disc version has also been released on Blu-ray, which is basically the first disc of the 30th anniversary edition, which contains the three versions of the film with the "View from Above" feature. Legacy[edit] See also: Night Skies Shortly after the film's release in late 1977, Spielberg desired to do either a sequel or prequel, before deciding against it. He explained, "The army's knowledge and ensuing cover-up is so subterranean that it would take a creative screen story, perhaps someone else making the picture and giving it the equal time it deserves."[12] The film was nominated for eight Oscars at the 50th Academy Awards, including Direction, Supporting Actress (Melinda Dillon), Visual Effects, Art Direction (Joe Alves, Daniel A. Lomino, Phil Abramson), Original Music Score, Film Editing, and Sound (Robert Knudson, Robert Glass, Don MacDougall and Gene Cantamessa).[33]The film's only win was for Vilmos Zsigmond's cinematography, although the Academy honored the film's sound effects editing with a Special Achievement Award(Frank Warner).[34] At the 32nd British Academy Film Awards, Close Encounters won Best Production Design, and was nominated for Best Film, Direction,Screenplay, Actor in a Supporting Role (François Truffaut), Music, Cinematography, Editing, and Sound.[35] Close Encounters lost the Hugo Award for Best Dramatic Presentation to Star Wars,[36] but was successful at the Saturn Awards. There, the film tied with Star Warsfor Direction and Music, but won Best Writing. Richard Dreyfuss, Melinda Dillon and the visual effects department received nominations. Close Encounters was nominated for Best Science Fiction Film.[37] The film received four more nominations at the 35th Golden Globe Awards.[38] When asked in 1990 to select a single "master image" that summed up his film career, Spielberg chose the shot of Barry opening his living room door to see the blazing orange light from the UFO. "That was beautiful but awful light, just like fire coming through the doorway. [Barry's] very small, and it's a very large door, and there's a lot of promise or danger outside that door."[8] In 2007, Close Encounters was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress, and was added to the National Film Registry for preservation.[39] In American Film Institute polls, Close Encounters has been voted the 64thgreatest film of all time,[40] 31st most heart-pounding,[41] and 58th most inspiring.[42] Additionally, the film was nominated for the top 10 science fiction films in AFI's 10 Top 10[43] and the tenth anniversary edition of the 100 Movies list.[44] The score by John Williams was nominated for AFI's 100 Years of Film Scores.[45] Alongside Star Wars and Superman, Close Encounters led to the reemergence of science fiction films.[46][47] In 1985 Spielberg donated $100,000 to the Planetary Society for Megachannel ExtraTerrestrial Assay.[5] In the 1979 James Bond film Moonraker the five-note sequence is heard when a scientist punches the combination into an electronic door lock. In the South Park episode "Imaginationland", a government scientist uses the five-note sequence to try to open a portal.[48] In "Over Logging", a government scientist uses the five-note sequence to try to get the central Internet router working.[49] The "mashed potato" sculpture was parodied in the film UHF,[50] the film Canadian Bacon, an episode of Spaced, an episode of The X-Files, an episode of That '70s Show, and an episode of The Simpsons.[51] It was satirized in the 200th issue of Mad Magazine, July 1978, by Stan Hart and Mort Drucker as Clod Encounters of the Absurd Kind.[52] In 1977, Saturday Night Live had Dreyfuss as a guest host and spoofed the film as Cone Encounters of the Third Kind featuring the recurring characters the Coneheads. The 1980 short Closet Cases of the Nerd Kind spoofs the entire film (in condensed form). In 2007, Muse have used one of the communications melodies to open their most popular live track, titled "Knights of Cydonia" In 2011, ABC aired a primetime special, Best in Film: The Greatest Movies of Our Time that counted down the best movies chosen by fans based on results of a poll conducted by ABC and People. Close Encounters of the Third Kind was selected as the #5 Best Sci-Fi Film.[53] In the 2012 Deadmau5 album Album Title Goes Here, track no. 9, titled "Closer," features the five-note sequence as the basis for the song's opening and main melodic motif.[54] In 2013, the TV Show Futurama spoofed the note sequence and Devil's Tower sequence in episode "Games of Tones".[55][citation needed] In the Homestar Runner cartoon "The House That Gave Sucky Tricks," the King of Town dresses up as the mashed potato sculpture of Devil's Tower. American Film Institute Lists · AFI's 100 Years...100 Movies - #64 · AFI's 100 Years...100 Thrills - #31 · AFI's 100 Years of Film Scores - Nominated · AFI's 100 Years...100 Cheers - #58 · AFI's 100 Years...100 Movies (10th Anniversary Edition) - Nominated · AFI's 10 Top 10 - Nominated Science Fiction Film CLOSE ENCOUNTERS OF THE THIRD KIND CLOSE ENCOUNTERS OF THE THIRD KIND (1980) Cast · Richard Dreyfuss as Roy Neary · Francois Truffaut as Claude Lacombe · Teri Garr as Ronnie Neary · Melinda Dillon as Jillian Guiler Directed and written by · Steven Spielberg Produced by · Julia Phillips · Michael Phillips Drama, Science Fiction Rated PG 152 minutes | Roger Ebert January 1, 1980 | Print Page He's provided an entirely new conclusion, taking us inside the alien spaceship that visits at the end of the film. WATCH NOW He's provided more motivation for the strange behavior of the Richard Dreyfuss character who is compelled by "psychic implanting" to visit the Wyoming mountain where the spaceship plans to land. He's added additional manifestations of UFO intervention in earthly affairs -- including an ocean-going freighter deposited in the middle of the Gobi Desert. In addition to the sensational ending, he's added more special effects throughout the film. One shot seems like a lighthearted quote from Spielberg's own "Jaws." In that film, a high-angle shot showed the shadow of the giant shark passing under a boat. In this one, a high-angle shot shows the shadow of a giant UFO passing over a pickup truck. Spielberg's decision to revise the original version of "Close Encounters" is all but unprecedented. Some directors have remade their earlier films (Hitchcock did British and American versions of "The Man Who Knew Too Much"), and others have thought out loud about changes they'd like to make (Robert Altman wanted to edit a nine-hour version of "Nashville" for TV). And countless directors, of course, have given us sequels -- "part two" of their original hits. Spielberg's Special Edition is sort of a "Close Encounters: Part 1-1/2." It is also a very good film. I thought the original film was an astonishing achievement, capturing the feeling of awe and wonder we have when considering the likelihood of life beyond the Earth. I gave that first version a four-star rating. This new version gets another four stars: It is, quite simply, a better film -- so much better that it might inspire the uncharitable question, "Why didn't Spielberg make it this good the first time?" His changes fall into three categories. He has (1) thrown away scenes that didn't work, like the silly sequence in which Dreyfuss dug up half of his yard in an attempt to build a model of the mountain in his vision; (2) put in scenes he shot three years ago but did not use, such as the Gobi sequence and Dreyfuss flipping out over the strange compulsion that has overtaken him, and (3 )shot some entirely new scenes. The most spectacular of these is the new ending, which shows us what Dreyfuss sees when he enters the spacecraft. He sees a sort of extraterrestrial cathedral, a limitless interior space filled with columns of light, countless sources of brilliance, and the machinery of an unimaginable alien technology. (The new special effects were designed by the underground artist R. Cobb, I understand; no credit is given.) This new conclusion gives the movie the kind of overwhelming final emotional impact it needed; it adds another dimension to the already impressive ending of the first version. The movie gains impact in another way. Spielberg has tightened up the whole film. Dead ends and pointless scenes have been dropped. New scenes do a better job of establishing the characters -- not only of Dreyfuss, but also of Francois Truffaut, as the French scientist. The new editing moves the film along at a faster, more absorbing pace to the mind-stretching conclusion. "Close Encounters," which was already a wonderful film, now transcends itself; it's one of the great moviegoing experiences. If you've seen it before, I'm afraid that now you'll have to see it again. Close Encounters of the Third Kind By Don Shay For a twenty-seven-year-old director with a smattering of television experience and only one prior feature, Steven Spielberg demonstrated an awesome mastery of the film medium when his first big production hit the screen in 1975. An instant and certifiable phenomenon,Jaws had vicarious thrill-seekers queuing up around city blocks all over the world and within months became the biggest grossing film in history. Could the audacious Spielberg make lightning strike twice, or was his shark picture merely a fluke? Not even he could say for sure. One thing was certain, however, Jaws would afford its young creator a rare opportunity to write his own ticket—at least for one more outing—and Spielberg was determined to make the most of it. For years, Spielberg had been fascinated by accounts of unidentified flying objects. As a youth, he had been introduced to the wonders of the heavens by his father. At sixteen he parlayed that interest into a two-and-a-half-hour 8 mm movie about scientists investigating strange lights in the sky. Some years later, he wrote an unpublished short story on a similar theme and at one point intended to launch a low-budget UFO film immediately after his first feature, The Sugarland Express. Then Jaws—still a novel in galley form—came to his attention, and Spielberg’s winning campaign to claim the film adaptation for his own completely altered the course of his career. The UFO project was set aside. Even so, during idle, waterlogged moments in the making of Jaws, Spielberg and actor Richard Dreyfuss would toss about ideas for an epic film chronicling mankind’s first full-blown contact with beings from another world. With a green light from Columbia Pictures to develop the big-budget project, Spielberg commissioned a script from screenwriter Paul Schrader. Unhappy with the results, the director decided he could do a better job himself and over the next two years wrote half a dozen drafts on his own. Central to his vision were two concepts all but alien to science fiction films. Virtually without exception, extraterrestrial contact as depicted in motion pictures had been of a strictly hostile nature. Spielberg felt that any alien race capable of interstellar travel would be more altruistic in its motives. Indeed, there was little in the literature of UFO sightings to suggest otherwise. Also, he was determined not to tell his story through the studied empiricism of learned scientists—another cornerstone of the genre—but through the wide-eyed emotionalism of an ordinary blue collar worker whose life is cast into dizzying disarray as he struggles to cope with the unknown. With a title derived from the terminology employed by those who observe and investigate unidentified flying objects, Close Encounters of the Third Kind went into production at Devil’s Tower National Monument in Wyoming and then relocated to Mobile, Alabama where a giant dirigible hangar was transformed into the largest indoor set in motion picture history. Later, there would be location sequences shot in India and the Mojave Desert. But it was the UFOs and their inhabitants that would consume the greatest amount of time and energy. A full year-and-a-half would be needed to complete the optical and miniature work. Douglas Trumbull, engaged as visual effects supervisor for the production, was as much a wunderkind in his own field as Spielberg was in his. Employing newly developed technology to create precisely repeatable camera and model movements, Trumbull and his Future General organization managed to simulate on film the kinds of sightings commonly reported by UFO observers—brilliant, multicolored shapes of light capable of speeds and aerial maneuvers beyond the realm of human technology.Building to a grand finale in which a gigantic mothership and its cosmic voyagers are revealed to a select group of observers at the Devil’s Tower site, Close Encounters electrified audiences around the globe. Within days of its 1977 release, it was apparent that, for Steven Spielberg, lightning could indeed strike twice—and had. But the film still fell short of the one he had sought to make. Time and money had imposed limits on his aspirations. Two years later he was able to fulfill his original vision. In a move unprecedented for a film already released to popular and critical acclaim, Spielberg excised sixteen minutes from his original cut and replaced it with seven minutes of previously deleted footage and six minutes of new material generated specifically for a “Special Edition” reissue. It is this revised version of the film—highlighted by a breathtaking look inside the alien mothership—that has predominated in the years since its unveiling, and it is this version only which has been available to the home video market. For years film buffs have debated which one is the “best.” Now home video viewers will have the chance to decide for themselves, with the Criterion Collection offering the definitive presentation of Close Encounters of the Third Kind—complete and intact as originally released and supplemented with the “Special Edition” material which can be viewed either separately or in proper sequence within the film. Close Encounters of the Third Kind (1977) Pages: (1) (2) (3) Background Close Encounters of the Third Kind (1977) is director/writer Steven Spielberg's first film after the enormously successful blockbuster Jaws (1975). Appearing in the late 1970s, it was a soulful, beguiling, magical, and benevolent look at 'close encounters.' Although the film appeared during the post-Watergate period and exhibited an obvious distaste for government intervention, its optimistic, loving portrayal of alien encounters was unusual, and set it apart from most science-fiction alien-encounter films of an earlier era. The film's proposed original title was to be "Watch the Skies," the closing words from the science-fiction classic The Thing From Another World (1951). One of the film's posters declared: "We are not alone." The transcendent film followed the odyssey of various characters, including an obsessed, middle-class power lineman named Roy Neary (Dreyfuss, who had earlier appeared in Spielberg's Jaws, but was offered the part only after tough-actor Steve McQueen declined) and a distraught mother named Gillian (Dillon), and her young son Barry (Guffey), as they are inexplicably lured to a volcano-like mountain in Wyoming, to experience a spectacular, extra-terrestrial encounter. As a high school junior, Spielberg's first feature film, shot in 8 mm, was Firelight (1964) - the inspirational precursor to this film, about a town terrorized by UFOs. The film was shot in various locales worldwide: at Devils Tower in Wyoming, Alabama, California, Mexico, and India. Spielberg also had cast notable director Francois Truffaut in the film in a major role (modeled after French UFO expert Jacques Vallee). The film resembled, in part, aspects of The Day the Earth Stood Still (1951) and Hitchcock's North by Northwest (1959), and various portions and themes of Close Encounters would be repeated in Spielberg's E.T.: The Extra-Terrestrial (1982). The screenplay (finished by Spielberg from an original script by Paul Schrader) was based upon the book, The UFO Experience (1972), written by Dr. J. Allen Hynek, who served as the film's technical advisor (and appeared in a bit cameo part during the final scene). The highly personal, expensive project of Spielberg's was first released for Columbia Studios in 1977 - then, a re-edited theatrical Special Edition, authorized by the director himself, was released three years later in 1980, with some tightening of the original version [cutting the scene in which Roy Neary throws dirt into his family's house to recreate his vision of the mountainous mound] and some additional scenes - mostly footage of Neary's entrance into the interior of the giant spacecraft at the film's conclusion. Spielberg also released a 'director's cut' version in 1998, and a 30th Anniversary Ultimate Edition in 2007. This awe-inspiring film is one of the most dazzling UFO science fiction films ever made, although it has pre-digital special effects. Douglas Trumbell's visual and special effects of the Mother Ship are spectacular, ushering in - with Lucas' Star Wars (1977) of the same year - a flood of Hollywood films featuring special effects. It was Columbia Pictures' biggest grossing film up to that time, and helped to usher in the era of the blockbuster sci-fi/fantasy film. The Academy of Motion Pictures Arts and Sciences nominated it for eight awards: Best Supporting Actress (Melinda Dillon), Best Director, Best Film Editing, Best Original Score (John Williams), Best Art Direction/Set Decoration, Best Sound, Best Visual Effects, and Best Cinematography. Its sole award was for Best Cinematography by cameraman Vilmos Zsigmond, but it was also honored with a Special Achievement Award for Sound Effects Editing. Publicity for the film distinguished the varying levels of encounters with aliens: CLOSE ENCOUNTER of the First Kind Sighting of a UFO CLOSE ENCOUNTER of the Second Kind Physical Evidence (of an Alien Landing) CLOSE ENCOUNTER of the Third Kind Contact (with Aliens) WE ARE NOT ALONE The opening scene is the first of over a half dozen set-pieces of 'close encounters,' all seemingly unconnected events, that provide clues, which ultimately culminate in the extraordinary climax of the film. There are numerous 'sightings' and calls from a mothership in outer space, signaled by five-notes. A French UFO expert deciphers a way to replicate the integral five notes (similar to Disney's "When You Wish Upon a Star" from Pinocchio (1940)), and lure the mothership to land on Earth at a volcanic formation - a geographic focal point. Through music, images, and dialogue, the random scenes of the storyline are masterfully coalesced together. The Story First Close Encounter: Sonora Desert, Mexico The film begins in darkness following some initial credits - as orchestral sounds build in volume, a brilliant flash of light fills the screen. [Communication, in the form of the interplay between music (sounds) and light (images), plays a significant role in the film.] A jeep arrives, in the present day, at its destination deep in the Sonora Desert, in a sand-swept village in northern Mexico. It is difficult for the waiting Mexican Federales Police to hear the words of the team leader over the howling sandstorm: "Are we the first?...Are we the first to arrive here?" Shouting over the storm in Mexican, another of the Federales is impossible to understand without an interpreter. A second car arrives, and the newcomers lean into the wind, holding onto their caps. One of the men, identifying himself as a cartographer ("I'm a mapmaker") and not a professional interpreter, David Laughlin (Bob Balaban) is able to "translate French into English and English into French." Laughlin recognizes the French-speaking scientific team leader, Claude Lacombe (French director Francois Truffaut in his American acting debut, playing a role based upon French UFO expert Jacques Vallee) from his appearance at the Montsoreau conference. Lacombe: How long have you been working on this project? Laughlin: I've been with the American team from the beginning. In fact, I saw you at the Montsoreau conference which ended well, especially for you. Especially for the French. If it isn't too late - my congratulations. They are summoned by one of the Americans, shouting and pointing: "They're all there, all of them!" Everyone runs through the sandstorm, which begins subsiding, to a collection of vintage fighter aircraft from World War II - in pristine condition. Lacombe orders the serial numbers of the planes transcribed off their engine blocks. Laughlin is confused: "What the hell is happening here?" One of the mission project leaders (J. Patrick McNamara) explains: Project Leader: It's that training mission from the Naval Air Station in Ft. Lauderdale... Laughlin: Who flies crates like these anymore? Project Leader: No one. These planes were reported missing in 1945. Laughlin: But it looks brand new. Where's the pilot? I don't understand. Where's the crew? Hey! How the hell did it get here? Laughlin poses unanswerable questions, as the leader finds personal effects in the cockpit of one of the planes - sepia photographs and a 1945 calendar from a bar in Pensacola, Florida. The vintage torpedo bombers have charged batteries and full fuel tanks. One after another, the engines of the planes are throttled up and brought to life. Trying to figure out the enigma, Lacombe is brought to a cantina to speak to one of the local Mexicans who was an eyewitness to the inexplicable events that happened the previous night. The old derelict's half-crazed face is brightly sunburned and he sheds tears of joy: Old Man: El sol salio anoche y me canto! Translator: He says the sun came out last night. He says it sang to him. Laughlin gazes up to an unfocused point in space and time as the sand-swept scene shifts to the sweeping viewer of a radar screen at Air Traffic Control, Indianapolis Center. Second Close Encounter: Indianapolis, Indiana Air Traffic Control Center Air traffic controllers, almost three thousand miles away from the Mexican desert, keep watch over the skies above Indiana. They monitor pilot's communications, airplane locations, and general aircraft activity to keep the skies safe: AirEast Pilot (Roy E. Richards): Indianapolis Center, do you have any traffic for AirEast 31? Air Traffic Controller: AirEast 31, negative. The only traffic I have is a TWA L-1011 in your six o'clock position. Range - fifteen miles. There's an Allegheny DC-9 in your twelve o'clock position, fifty miles. Stand by one. I'll take a look at Broadband. AirEast Pilot: AirEast 31 has traffic two o'clock, slightly above and descending. Air Traffic Controller: AirEast 31, Roger. I have a primary target about that position now. I have no known high-altitude traffic. Stand by one. I'll check Low [Altitude]. Over... AirEast Pilot: AirEast 31. The traffic's not lower than us. He's one o'clock now, still above me and descending. Air Traffic Controller: AirEast 31. Can you say aircraft type? AirEast Pilot: Negative, Center. No distinct outline. To tell you the truth, the target is rather brilliant. It has the brightest anti-collision lights I think I've ever seen - alternating white to red. The colors are a little striking. TWA Pilot: Center, this is TWA 517. Traffic now looks like extra bright landing lights. I thought AirEast had his landing lights on. As the not-so-routine communications continue, a few of the other Traffic Controllers crowd around the computerized radar screen as an UNK (Unknown) radar blip in the air-position display shows up next to the other two planes. The controllers can hardly comprehend what they are seeing - an imminent air collision. The controller orders evasive action by the AirEast and Allegheny pilots to avoid a catastrophe: AirEast Pilot: OK Center. AirEast 31. The traffic has turned. He's heading right for my windshield. We're turning right... [A CONFLICT ALERT sounds] Air Traffic Controller: AirEast 31, descend and maintain flight level three-one-zero. Break, Allegheny triple four. Turn right thirty degrees immediately... AirEast Pilot: AirEast 31, Roger. The traffic is quite luminous and is exhibiting some non-ballistic motion. Over. Air Traffic Controller: Roger, AirEast 31. Continue to send at your discretion, over. AirEast Pilot: OK, Center. Center pilot's discretion is approved. The traffic is approaching head-on...and really moving. Went by us, right now. That was really close. One of the supervisors leans over the controller's shoulder to document the unidentified flying object, but the two pilots who witnessed the incident decline to report the unusual circumstances: Supervisor: Ask them if they want to report officially. Air Traffic Controller: TWA 517, do you want to report a UFO? Over. [No response] TWA 517, do you want to report a UFO? Over. TWA Pilot: Negative. We don't want to report. Air Traffic Controller: AirEast 31, do you wish to report a UFO? Over. AirEast Pilot: Negative. We don't want to report one of those either. Air Traffic Controller: AirEast 31, do you wish to file a report of any kind to us? AirEast Pilot: I wouldn't know what kind of report to file, Center. Air Traffic Controller: AirEast 31, me neither. I'll try to track traffic and destination, over. Third Close Encounter: Muncie, Indiana On a summer, star-lit, breezy night in Muncie, Indiana, a young innocent child named Barry Guiler (Cary Guffey) awakens from a dreamy sleep in his country house. The blowing trees outside his window cast moving shadows across his pillow and rustle the curtains. Inexplicably but intentionally, a mechanical toy monkey on his dresser begins moving manically - it noisily clashes its two cymbals together. Barry sits up from the noise and clamor, noticing that other mechanical objects and toys in his room are buzzing and have also sprung into action - his phonograph player begins to spin, the head of a ghoulish monster turns red and the figure moves its outstretched hands, and his play-toy vehicles start cruising around. As the aliens converge, a round beam of light dances on the wall of the stairway - he follows it down as it leads him out to the screen door of the porch. Through the door, he can see more brilliant light, and drifting smoke. When he hears a sound behind him, the boy turns toward the kitchen - Coke cans drip their contents onto the floor in front of the opened refrigerator. Grocery items (egg cartons, raw meat, carrots, bacon, etc.) are in a messy heap that lead toward the pet-door. With an enchanted look on his face, as if called by an invisible presence that only he senses, Barry irresistibly follows the sounds and is spirited away by the aliens into a field. Upstairs, Barry's young single mother Jillian Guiler (Melinda Dillon) is roused from her sleep by an invasion of her son's activated toys and the fact that her television set has been turned on. Thinking it's her son playing a trick on her, she calls out for him: "Barry? Honey?" But when she enters her son's room, he is missing. Still grasping one of the moving toys, she sees a gleeful Barry running from the house toward the woods, giggling and amused as he disappears into the night. She entreats him to stop, fearfully but helplessly calling: "Barry! Barry!" Fourth Close Encounter: Muncie, Indiana A Close Encounter of the First Kind In a Muncie, Indiana suburban home in Middle America, blue-collar lineman Roy Neary (Richard Dreyfuss) is playing with a toy train set in the center of his family's living room. [A music box plays Jiminy Cricket's theme song: "When You Wish Upon a Star" from Disney's Pinocchio (1940).] The television is playing the four-hour movie, The Ten Commandments (1956) - because of its length, Roy is going to allow his children to see only half of it: "I told them they'd watch only five." His wife Ronnie (Teri Garr) answers a phone call from foreman Earl, who asks for Roy - one of his power company technicians: Neary, listen to me now, get over to the Gilmore substation. We have lost the power up and down the line. There's a drain on the primary voltage. [The lights go out.] We've lost half the transformers at the Kennedy substation. Lights throughout town begin to go dark as the progressive power failure spreads quickly across the power grid. Soon, the entire area has been engulfed in darkness. All the alarms blink as Roy briskly enters the Department of Water and Power substation to investigate the source of the power drain. Reports are flowing in about the massive power-cut: "Crystal Lake is dark...Tolono is completely gone." One of the technicians recommends a strategy to deal with the failing system: "Let it all fail. Let it all fail. We'll pick up the pieces later after it's fallen." A temporary supervisor thinks that's impossible: "I got reports of vandalism on the line. I got eight 90-megawatt lines down all over." Neary is knowledgeable about the Crystal Lake area: "There's no wind, normal tension for the sag is 15,000 pounds per wire." So he is appointed, without regard to seniority, to go to Crystal Lake because he worked there as a journeyman a few years earlier. As Neary prepares to leave, another report shows how serious the problems really are: "Got a fresh impedance coming up. It's not an overload. It's a drain. Lines M-Mary ten through M-Mary fifteen. And Municipal Lighting is asking to be cut free." The supervisor replies: "You tell Municipal Lighting we're going to candle power in ten minutes." Meanwhile, Jillian searches desperately for her son near their home, using a flashlight to guide her way. Distraught, she calls out: "Barry! Barry!" In a memorable scene (an encounter with a UFO spacecraft), Roy is lost on the road en route to Crystal Lake when sent to investigate a power blackout. He chuckles to himself: "Help, I'm lost." While his face is buried in a roadmap to get his bearings, he sees a set of bright lights approaching from behind his truck. Without looking, he casually waves on the car, and is reprimanded: "You're in the middle of the road, you jack-ass." He proceeds to a railroad crossing and pulls to a screeching stop to once again check his map. Another set of bright lights approaches behind him - they illuminate the interior of his truck with brilliant light. Again, he waves the vehicle past while engrossed in studying his map. But instead of going around, the intense lights rise straight up like a rocket above his truck. The first indication that something isn't right occurs when his flashlight catches sight of a row of rattling, jiggling mailboxes moving back and forth like they were in an earthquake. Suddenly, his flashlight, radio and other electrical lights shut off. From above, his truck is bathed in blinding, powerful rays of luminescent light. An array of colorful lights overwhelms his sight, and a deep-toned, thunderous, musical vibration envelopes his truck. There is an apparent loss of all gravitational force - the railroad crossing signal rocks back and forth, the electrical system indicators in the cab dashboard go haywire and smoke, and debris flies randomly around the interior of the cab. And then, just as suddenly as it began, the vibrations and rockings of the visitation cease, and the lights blink out. After all the commotion, the stillness is deafening - a lone dog barks off in the distance. Roy trembles, leans forward, and peers upwards through his windshield, glancing at a gigantic, slow-moving, flying object in the night sky. For an instant, a narrow beam of intense light shines down on a stop light further down the road. He nearly suffers a heart attack when his flashlight suddenly turns back on. His truck's engine, radio, and electrical system instruments all begin functioning again. He tunes in to a flood of reports about fantastic sightings and other UFO encounters: I don't believe this. It's big as a house. It's crazy, shaped like a barn. It's just off the Tolono Expressway, heading east toward Harper Valley Trembling, but interested in pursuing the unidentified phenomenon, Roy takes off in pursuit without a second thought. The moon's light casts an ominous shadow of the UFO over his infinitesimally-small truck as he drives through the rural countryside. Excited by his experience, but not knowing the meaning of his new-found obsession, he recklessly races through the night toward Harper Valley. In another area of the greater Muncie, Indiana landscape, little Barry has wandered away from home and trekked down the center of a remote country road on a hilltop - Crescendo Summit. He comes upon four simple folk in a family - they are peaceful and friendly - inexplicably drawn to watch the skies. The father is whistling in familiar anticipation: "She'll Be Comin' Round the Mountain." The little stranger timidly waves at them. At that moment, Jill scrambles up from the side of the road and spots Barry - but he is in the path of Neary's fast-moving truck speeding around the bend. Jillian dives and tackles her transfixed son to save him from being hit in the truck's path. Roy races to them after braking and fighting his truck for control - he apologizes: "I'm sorry. I didn't even see him. He was just standing right in the middle of the road." Fifth Close Encounter: Muncie, Indiana Unshaken by the incident, Barry breaks free from his mother's arms and dashes out into the hill-top road again - while calling out to the sky: "Hello. Come here...Play with me." As they stand there, a squadron of three rumbling, high-speed, multi-colored vehicles - each with a different configuration of lights - come over the horizon and fly low over the road - the objects gracefully pass over them in a smooth, sweeping motion and vanish around the bend. A smaller, glowing red spot of light, akin to Tinker Bell, trails the other flying objects. Jillian, Roy, and the boy witness three of the alien spacecraft, apparently controlled by intelligent beings. Barry yells after them: "Ice cream!" The old man of the family reverentially opines: They can fly rings around the moon, but we're years ahead of them on the highway. The undulating wailing of police car sirens are heard in the distance - Jillian moves off the road just in time - three police cars scream around the bend in pursuit of the colorful objects. Neary is astounded by the evening's events: "This is nuts!" Unconsciously, Roy decides to follow the caravan of police cars in his truck, heading for the OHIO STATE LINE toll booth. The UFO's fly through the toll booth, setting off alarms, closely followed by the police cars and Roy's truck. The patrol car driver in the lead car is mesmerized by the high-speed caravan of UFO's and their flying lights: "Jesus...Look at that! Look at those suckers. They're glued to the road!" At a hair-pin turn, the objects shoot up and over the guardrail and sail off into the heavens. The first pursuit car follows the objects and goes airborne for a few moments before crashing below. The other vehicles screech to a halt at the guard rail on the cliffside. The fantastic lights in the sky fuse to become one while they recede, and then at a tremendous velocity, they split into three points of light before climbing and disappearing into the cloud cover. The clouds are illuminated by bursts of light from within just before the electrical lights of the city are restored across the horizon. Returning home at four in the morning, Roy is ecstatic and wakens his sleepy wife, unable to calm down: "Honey, Ronnie. Wake up. You're not gonna believe what I saw!...I never would have believed it. There was this, uh, in the cab, there was this...it was a red whoosh." Sleepily, she tells him that he has been instructed to call the power department immediately: "I think you'd better call them." He is so excited that he cannot find words to explain his experience to her: "You know, those pictures in the National Geographic about the Aurora Borealis. This was better than that." He insistently begs her to get up: "Ronnie, I need you to see something with me. It's really important." He also awakens the kids: "Silvia [Adrienne Campbell], come on. We're going on a little adventure. Toby! [Justin Dreyfuss] Brad! [Shawn Bishop] Come on. Get up. Up!...It's better than Goofy Golf!" As he bundles everyone into his truck, Ronnie notices that the left side of Roy's face is sunburned and beet red: "Roy, you're sunburned! Look at you!" At the spot on the road on Crescendo Summit where he saw the indescribable objects, Roy tries to describe what he witnessed: Ronnie: Roy, what did it look like? Roy: It was like an ice cream cone. Ronnie: What flavor? Roy: Orange. It was orange - and it wasn't like an ice cream cone. It was, it was more like a shell. You know, it was like this. Ronnie: Like a taco? Was it like one of those Sara Lee, um, moon-shaped cookies? Those crescent cookies? (trying to be supportive) Don't you think I'm taking this really well? I remember when we used to come to places like this just to look at each other...and snuggle. After many smaller kisses, Ronnie gets Roy's mind off the skies for a few moments, and they snuggle together. But his life-transforming experience is foremost on his mind. Sixth Close Encounter: Gobi Desert, Mongolia Native Mongolians with rifles slung over their shoulders, while leading camels through the desert, witness three white vehicles, marked UN and flying blue UN flags, as they zoom over a sand dune in the Gobi Desert. The vehicles are pursued by two military helicopters, as they are directed toward an amazing sight - a stranded freighter named COTOPAXI lying in the deep sand. Everyone exclaims and asks: "I don't believe it...Why is it here?" CLOSE ENCOUNTERS OF THE THIRD KIND Remains Singularly Strange And Genuine Spielberg's sci-fi masterpiece is most ambitious in its honest depiction of humanity. By BRITT HAYES Sep. 17, 2015 457 0 It's nearly impossible to watch Close Encounters of the Third Kind now without comparing it to all of Steven Spielberg's films that followed. And although Spielberg's early sci-fi masterpiece clearly informed his later work on a visual and emotional level, Close Encounters of the Third Kind is a singular, nervy effort - a weird and wonderful entry in Spielberg's filmography, and I hesitate to say that it couldn't get made today. A movie like Close Encounterscould very well exist in the contemporary context, though it would be overwrought with CG, given a more traditional narrative structure, and the ending would be far less startling and much more... safe. The very essence of Close Encounters of the Third Kind is an attempt to subvert what is safe, what is usual, what is normal and familiar. Richard Dreyfuss' Roy Neary is a family man living a completely mundane and monotonous life, and the film's most hilarious scene is also the most telling of his status: Roy reading a newspaper and trying to have a banal conversation with his family about their weekend plans, while his son repeatedly smashes a toy doll in the background. It's that repetitive, silly act that informs us of how redundant Roy's life has become - he doesn't have a bad life, nor is it a particularly charmed existence, but he is stuck the way most of us are stuck in our daily habits, relying on that which has become second nature as if we're floating through the days on autopilot. The close encounter that the title suggests brings Roy together with single mother Jillian (Melinda Dillon), whose son has been transfixed and abducted by visiting aliens, and the two form an unspoken, meaningful bond - it is not the bond of survivors, nor the romantic bond of desire, but a connection built on something inexplicable and indescribable, almost as if they have been struck by the genesis of a new feeling never before experienced by any other human being. It's a feeling that has no word to describe it nor definition. So much of Close Encounters of the Third Kind is about actual feeling and genuine response, forgoing the usual plot patterns and generic representations of how human beings should respond. It's easy to point out elements that appear again in subsequent Spielberg films - the shot of Roy and Jillian walking up the hill, as the vision of the mesa that's consumed their thoughts swells into view above them is incredibly similar to the first time we see the brontosauruses in Jurassic Park. Spielberg often uses this style of reveal elsewhere, though the scenes in these two films are nearly identical in both the size of the awe-inspiring object and the exact nature of the revelation. Just as Sam Neill's Dr. Alan Grant is discovering something he's long sought but never expected to actually behold in such tangible glory, so too do Roy and Jillian lay eyes on this particular piece of landscape - a reality they believed in but one they never truly understood as obtainable. Similarly, specific sequences in Close Encounters echo those in Poltergeist, the film Spielberg later produced (and which he was rumored to have secretly directed). When the aliens visit Jillian's home and abduct her son, it's comparable to the taking - and later, the rescue - of Carol Ann in Tobe Hooper's film. Jillian places her hand on the television as the image of the mountain that has consumed her appears, the same way Carol Ann places her hand on the television, beckoned by the poltergeist inside. The way the objects in the kitchen are rattled about as if possessed is incredibly similar to the ghastly antics inPoltergeist - and like that film, Close Encounters presents an unspeakable, intangible and deeply transformative experience, though the former is outright horrific and the latter inspires awe, even in its most harrowing moments. And yet for these specific similarities to Spielberg's other films, Close Encounters of the Third Kind stands alone as a sort of outlier - it feels like an entirely personal film made without the desire to conform to what is expected or what characters should do. Spielberg's idea of a happy ending involves Roy leaving his exasperated wife and three children behind to join the aliens on their ship. In sharp contrast to contemporary studio films, the ending of Close Encounters is almost entirely bizarre - what modern studio film would allow the protagonist to abandon his family and reject his archetypical place as the male provider to pursue this dream that has become such a singular obsession? Particularly a desire he didn't even know he possessed until he stumbled into its path - it's not as if Roy spent his entire life pondering extraterrestrial life and a world beyond the confines of his own mundane existence, but inspiration often strikes us at the most unlikely times and in the most unexpected places; often we clumsily discover our true passions by coincidence. It's not as if flawed male protagonists don't pursue and achieve their ambitions at the expense of their wives and girlfriends and children - they do, but if a film such as Close Encounters were made today, it would undoubtedly be a family film, and Spielberg's ending rejects those ideals. There's something wholly honest about this ending and Roy's decision to join the aliens on their ship and leave his family - and his banal world - behind. Not only does it feel right for the character, but it feels instinctual, just as so much of Close Encounters feels as though it was built purely on instinct and subjectivity. It only seems like such a strange film now after decades of formulaic sci-fi and studio films, but now, as it was then, Close Encounters is a highly singular piece of cinema that challenges convention - perhaps not always gracefully, but honestly. EBAY3503 Condition: Used, Condition: The poster is in very good condition. Used. Clean and fresh. Will definitely disapear under a framed glass. ( Pls look at scan for accurate AS IS images ), Country//Region of Manufacture: Israel, Country of Manufacture: Israel, Country/Region of Manufacture: United States

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