The Great Movies: "E.T."

E.T.
Steven Spielburg, 1982

Previous Contact: I have seen E.T. once before, on the big screen on its original release. I found it treacly, sentimental, and unlikable. But then, I was, what, sixteen? Based on that viewing, I have always questioned its status as a critically acclaimed movie, and have more or less dreaded having to watch it again for this project.

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Let me tell you the plot of E.T. the way you remember it: An alien creature is befriended and nurtured by some California children, but sinister authoritarian forces kidnap it and very nearly kill it for their own dark purposes. Fortunately, the plucky children are able to free the alien and arrange for it to rendezvous with its mothership.

Now, here's what actually happens in the movie: an alien creature is befriended and nurtured by some well-meaning California children. They are well intentioned, but in completely over their heads. Federal authorities are eventually, as you would earnestly hope, able to discover and intervene in this potentially civilization-destroying public health (not to say xenodiplomatic) scenario. They are alarming but unfailingly kind and courteous to the children and their mother, and perform admirably in trying to save the life of the alien after the children literally leave him abandoned in a ditch overnight. When the creature revives due to the presence of its mothership, it is able to utilize the children in order to make a rendezvous.

So, why do we misremember it the first way? Because that is the impression that Stephen Spielberg builds, very intentionally I would have to suppose, by the way the movie is crafted. When the Federal doctors, scientists, and marshals appear onscreen, they are in unnaturally arranged block phalanxes, in faceless hazmat suits, in dark lurking vehicles, and so on. Moreover, overwrought music (by John Williams) signifying danger and threat make sure that we know these are the bad guys. The impression that the alien must be kept out of their clutches at all costs is firmly conveyed, despite that there is nothing in the story, the script, or common sense to suggest that this would be anything but the best outcome for all concerned.

I object to this on two levels. On one hand, although it's not quite right to say I don't like to have my emotions manipulated -- after all, in a sense the whole reason we GO to the movies is to have our emotions manipulated -- I nevertheless don't like to have my emotions blatantly manipulated. I want to decide for myself how I feel about events in a narrative, not have my response scripted by crude visual effects or especially by swelling, bombastic music. And on the other hand, E.T. is a forerunner of the knee-jerk anti-guvment paranoia that blossomed so spectacularly in the 1990s, rendering so many of our fellow citizens vulnerable to the most slack-jawed of conspiracy theories and, on happily rare occasions, inciting them to extremes of pathological behavior.

Having said this, E.T. is better than I remembered it. Its middle third, in particular, manages a entertaining blend of highish drama, lowish comedy, and suspense. The single best thing about E.T. is E.T. itself, a wonderfully realized character who is not a great alien leader, but merely an alien working joe trying to get itself out of a jam. The movie creates for him a complete personality; not only do you not notice when watching the film that he is, of course, made out of latex, but it is almost impossible to disbelieve in him while he is on the screen.

There remain, however, an uncomfortably long list of annoyances for a film that is usually held in such high regard. These include the very unsubtle use of techniques that have since E.T. become thought of as Spielberg’s signatures. There is hardly a scene in the first reel that doesn't feature light shining through steam, fog, or inexplicable haze. People point their flashlights in unison at bright, glowing objects – strange behavior, to be sure, but it sure does create an arresting visual effect. The bad guys -- you know, NASA scientists -- move in a highly mannered fashion so that we can tell they are dangerous. In an early scene, the booted feet of a group of men running down a trail are all shown splashing one after another into the center of a small puddle, in exactly the way that people never run down paths. Even evil NASA scientists instinctively avoid mud puddles.

The product placement of a popular candy was much remarked on at the time, and for good reason: it is blatant and nonsensical enough to distract an adult viewer. And key moments, finally -- including the famous flying bicycle scenes -- are again marred by intrusive, manipulative syrup on the soundtrack. A flying bicycle ride should be able to seem wondrous enough without that big of a crutch.

Visuals: A mix. Spielberg does an amazing job with his title character, and captures the habitat of his human community pretty nicely. His portrayal of the science and public health authorities is foolish, but effective enough. Natural behavior is sometimes trumped by Spielberg’s drive for the Big Visual, which is distracting if you pay attention to such things. And, surprisingly, the movie takes a small but very palpable hit from featuring the Least Convincing Alien Spacecraft Ever in its opening and final scenes.

Dialog: With the exception of an especially implausible schoolteacher (whose face is never seen), the characters are given expressive, interesting, and fairly natural lines. The lead character's little sister, in particular, is a smart and vivid character, played by a dynamite child actress. [Oh, hey! It was Drew Barrymore, who I believe continues to be a brand-name actress! It says here that "In the wake of... sudden stardom, Barrymore endured a notoriously troubled childhood," but now she's apparently an Ambassador Against Hunger for the United Nations World Food Programme, so maybe things ended up OK after all.]

Prognosis: I've been a bit hard on E.T. here, because I feel it to be a flawed and overrated picture. But I also confess that it is an entertaining picture, likely to enjoyed by anyone who can stand being jerked around by bombastic production. With a strong premise and a great script, it had all of the ingredients for a really Great Movie, but instead became an adequate movie and a really Great Consumer Product. I'm sure Spielberg’s investors did not complain.