The gamecock. (Columbia, S.C.) 1908-2006, August 30, 1982, Page 19, Image 21
Spielberg scor
mgniignis 01 tms summer's crop of
movies are films in the science fiction
genre, with standard summer fare fleshing
out the marquees of local theatres. Two
films with Steven Spielberg behind the
scenes won the Hollywood whiz kid more
acclaim, and two turkeys based on
Broadway musicals proved the old adage,
"the bigger they are, the harder they fall."
f * i-1 * * " 1 1
nere, men, aFe excerpis irom some ot me
Gamecock's summer reviews.
"E.T. The Extra-Terrestrial," director
Steven Spielberg's finest film, asserts that
room still exists in big-budgeted fantasy
films for more than blaster fights, hacking
blades and exploding spacecraft. Spielberg
("Jaws," "Close Encounters of the Third
Kind," "Raiders of the Lost Ark") has
created a touching, witty, vitally human
mm.
FOR THE comatose few who still have not
seen the summer's true blockbuster, the
film is about an alien inadvertently
stranded on earth. The extra-terrestrial
finds refuge with Elliott (Henry Thomas), a
ten-year-old suburban boy who dubs the
other-worlder "E.T." Plenty of adversity is
manifested in the plot: a Mysterious
Government Agency is on E.T.'s trail, and
E.T.'s health grows steadily worse as the
length of his stay on Earth increases.
Elliott's confidants about the unorthodox
visitor are his brother Michael (Robert
Macnaughton) and his sister Gertie (Drew
Barrymore ? John Barrymore Sr.'s
granddaughter).
A sort of empathv grows between E.T.
and Elliott.Elliott, after all, is alienated too.
His father has just left the family for
another woman, he is the runt of the
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Elliott (Henry Thomas) watches the approachii
Steven Snielbero's finest film.
neighborhood gang of kids, and he is faced
with the awesome, frightening prospect of
leaving childhood behind in the insecure
context of a broken home.
This film is imbued with a simple
humanity, a storybook quality in its enchanting
imagery: E.T.'s jury-rigged S.O.S.
transmitter is a Dr. Seuss-like amalgam of
children's toys and household bric-a-brac,
and one is reminded of "Peter Pan" when
Elliott and E.T., on Elliott's bicycle, fly
(thanks to E.T.'s psychokinetic abilities) in
silhouette across the face of the full moon.
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bombs during
rig lights of the men looking for E.T. in
the film does seem full of reality ? a key
reason for the film's success. There is a
pervasive sense of the incredible happening
within the context of the credible.
THIS LUMINOUS film is an evocation of
people, of the poignancy of childhood, of the
limitless power of love on an individual
human scale, in a universe that is full of
magic.
"Poltergeist," a Steven Spielbergproduced
film, is not quite as intellectually
satisfying as "Close Encounters of the Third
Kind," but is still a riveting, suspenseful
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tale of the supernatural gone berserk. What
it lacks in direction and script is made up for
in vivid effects and shocking twists that
make this movie the summer's "The j
Exorcist."
If not for the special effects, this movie j
wouia noi oe worm seeing. Aiaea Dy jerry
(Goldsmith's score (a John Williams, of
"Star Wars" fame, imitation) and unclear
editing, the opening scenes of the film seem
to wander aimlessly, waiting for the first
special effect.
However, this is a truly scary movie, one
that will make an audience sit back with
fright and sympathetic horror. But for
Spielberg fans, don't expect more than the
special effects for the film's merits.
"STAR TfllTK Thp Wrath nf Ifhan" ic rir?f
a sequel to "Star Trek: The Motion Picture."
It is a sequel to "Star Trek" ? The
Series.
Khan, played by Ricardo Montalban, is a
character created on a series episode titled
"Space Seed." Khan and his followers are
genetically-improved "superhumans,"
stronger and smarter than average
humans. In 19%, they were sent into space
in suspended animation.
"Star Trek" has a well-rounded mixture
of humor, drama and adventure. Most of the
humor comes from the characterizations, as
when Spock says he "exaggerated" rather
than "lied." The drama comes from Kirk's
confrontations with his illegitimate son and
death, both for the first time. The ever
present adventure arises from Khan's attempt
to kill Kirk, who always tries to stay a
step ahead of Khan.
"Star Trek" brilliantly interweaves
universal and personal crises.
in "Summer Films," page 20
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