31/05/2026
Son of Celluloid Saturdays # 79
Some films seem to have always been there. To such a degree that you may have serious discussions and disagreements in your own head, as to whether you have actually seen the film in its entirety from beginning to end. Or just by the fact it has always been there, you have convinced yourself that by having seen so many bits and pieces of it on television over the years, you question whether your viewing has been the result of a jigsaw of scenes cobbled together.
We can now put to bed any such doubts this evening, as I return to Cineworld in Po***ck, Glasgow, to watch -
Close Encounters of the Third Kind.
***
Seat F9 in the back row. Far better than my original choice. As part of a Spielberg season, screening some of the lauded directors most popular films, there initially was one showing a day of each film. Due to almost immediate sold out screenings, this cinema in its wisdom smartly decided to offer other show times. My original booking was for an earlier showing, with only one seat left to choose from…and way down the front row. Apart from those shortsighted, lame or unable to climb steps - or an outright maniac - I can’t think of any other reason why a person would want to sit right up to the screen. Thankfully other showtimes were soon offered and I’m now as far from the big screen as possible. I’ve recently gained yet another pseudonym that lists alongside Jock, Caledonian Cowboy and Long Shadow. I now also have ‘Leg Up, Johnny!’ Earned after being involved in an episode of the popular television series Taskmaster. Wee, forever smiling, Emma from Starbucks has written this famed phrase on my cup of tea. This makes me laugh and very happy. Cos many in that particular Starbucks are my favourite staff ever.
But to the film…
After the success of Duel (originally a television movie in America, but edited into a full length feature for European audiences), followed by the explosive 1976 phenomenon of the first ever summer blockbuster, Jaws, Steven Spielberg was on a golden run. His next film was Close Encounters of the Third Kind. A feature not only shot, but also written by him. Likewise, he utilised many of the same crew from his previous films. Michael Kahn as editor, Douglas Slocombe as director of photography and John Williams delivering yet another gloriously brilliant score. Actor Richard Dreyfus is ported over from Jaws to play the lead character, Roy Neary. A man driven to the brink of insanity by UFO sightings and episodes of delirious and strange messaging.
The story begins proper, and very strong, after a French scientist discovers a squadron of American warplanes in the middle of the Sonoran Desert. The odd thing being that this is 1977…and the aircraft were reported missing in 1945! To add to the mystery, a massive American ship also appears in the middle of the Mongolian Gobi Desert!
What…why…and how?
Meanwhile, American planes are also being frequently buzzed by UFO’s. These incidents are tracked by military installations, but when pilots are asked to give descriptions, or go on record with their accounts, they refuse. Only because they can’t fully comprehend or understand what they witnessed. If you had seen other Spielberg films, especially around the same era as Close Encounters of the Third Kind, but were unaware who made this, you would immediately know it was one of Spielbergs. Tone, lighting, setup, mood. The unfolding of the story in many of his films is near identical. Not in a negative way, but showing just how sure handed and expertly keen eyed Spielberg was, and is, when it comes to his craft. I’ve only ever seen his much loved E.T. once, and many years ago, but there are scenes in that film which definitely echo Close Encounters. Especially scenes aiming for, and achieving, what may possibly be scary for more gentle or younger viewers. In one such scene a wee boy is drawn from his home late at night after his wind up toys all suddenly come to life. The fridge has been ransacked and the dog door flap is banging. As if something had just escaped quickly through it. His mother brings her son back from the night just before he vanishes. Power goes off and on in the town and there’s an overall weirdness in the local area. Those open to, or affected by, the strange alien happenings are having trouble focusing. Haunted by dreams and memories, plus witnessing strange events. Some going as far as drawing, modelling or recreating the legendary Devils Tower rock stack in Dakota. It transpires that that rock formation is a secret government base for human contact with unknown species from a far off galaxy or universe. Once our last three main characters escape into the closely guarded site, pursued by government helicopters, they know that they are on the verge of cracking open a truly secret operation. Roy is killed by poisonous gas, but Neary and Jillian make it just in time to see extensive evidence of human and alien contact. UFO’s of different types arrive. With the obvious gap of not understanding each others languages, the presumably universal language of music is utilised. It’s a clever and thought provoking idea. Sometimes the most complicated things are overcome in the simplest way. As previously mentioned, the score is undeniably John Williams. A knowing nod to the composer and director is heard in one scene. Where the musical notes from his famous theme for Jaws are used in an attempt by both humans and aliens to communicate with each other. The ending is nearly as good as the beginning scenes with the long lost aircraft in the desert. The aliens land and the boarding ramp of their spacecraft lowers. The audience waiting in anticipation to see if the weird and wonderful species they might have conjured up in their own heads are close to the actual reveal. Only for that idea to be turned, at least momentarily, on its own head. The beings emerging from the craft are humans. Ones lost through the ages and the reasons for their disappearances never fully accounted for. Having now returned decades later, yet not a day older. Stepping into a more modern, future, America. When the aliens choose to show themselves it must have seemed groundbreaking and exciting on the film’s release. Even after 40 years some shots are still truly impressive. It ends with willing humans, including our lead character, being led hand in hand by the aliens into the spacecraft. Presumably to be taken far beyond what mankind could ever imagine or understand. All the usual Spielberg tropes are in place. Ordinary men and women. Broken families. Some light touches of horror and intrigue. Perfect lighting and blocking. Music and production are all high end. Some scenes teeter on being a bit too schmaltzy, but still very much in the hands of a true filmmaking genius. The aliens leave and the score ramps up over the closing credits.
The end…
***
Close Encounters of the Third Kind has so much going for it. Especially the ending and that absolutely simple, yet incredibly smart and fascinating opening, but as a whole it just never grabs me. I fully understand why it’s deemed a classic and why many film fans love it. Making 15 x its budget in returns during it’s initial release, you can’t argue with that type of success. Plus seeing it on the big screen (like all films) is certainly special, but there’s something holding it back for me. If I’m honest I think it’s because Spielberg’s great films are truly that, great. So his other works sometimes seem lacking in comparison.
In saying that, a less enjoyable Steven Spielberg film is probably still better than most other films released. A statement that I don’t write flippantly, as I’m only a casual fan of the director’s work.
But you can’t argue with facts…and the truth is out there.
(C) Johnny Gauld/Caledonian Cowboy - 15th April, 2026
(*Due to having to focus on other projects and avenues, the original continuation of Celluloid Saturdays posts hit pause in September, 2024.
That being said, the viewing of films - which are 25 years and older - on the big screen, continued unabated, with accounts of each viewing detailed for future posts.
As such, these posts will now run from the most current viewing, back in time, to eventually connect with the last one from September, 2024.
Likewise, they will be filed under the sub-banner of -
Son of Celluloid Saturdays.*)
