And look no further for the most imaginative use of the camera than in his treatment of Peter Coyote's mysterious government agent, known only by the key rings hanging from his belt and the chiming sounds they make. in the backyard, where Spielberg alternates between a variety of shots, clearly expressing the boy's fear and panic, and we're right there with him, experiencing the moment. The most memorable is Elliot's first actual meeting of E.T. From lens flares and the beautiful, colorful cinematography of Allen Daviau, the film is an endless array of shots which actually facilitate an emotional response from viewers as well as enhance a particular scene. Only, here, he seems to further explore what could be accomplished with the camera and ultimately perfected his unique approach, one which came to define the 80s style of moviemaking. The fact that the film can still work its magic and be just as effective as ever is a testament to the work done by the filmmakers and of Spielberg's mastery of the craft.įollowing one box-office success after another (except, of course, for the cult favorite comedy '1941'), Spielberg inserted that same level of awe-inspiring excitement and child-like wonder he achieved in ' Raiders of the Lost Ark' the prior year. The bizarre alien creature that awkwardly wobbles from a tool shed towards a terrified Elliot (Henry Thomas) with Reese's Pieces candy in hand looks just as ugly and strange as the first time audiences saw it, but in the capable, brilliant hands of Steven Spielberg, the weird puppet, animatronic or little person inside a costume becomes an extraordinary and surprisingly believable being we soon grow to care for and even wish to be a part of our own lives. Thirty years since its initial theatrical run, the story of the friendship between a boy and an extra-terrestrial still manages to bring me to tears.
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