Spielberg’s seminal sci-fi flick returns to the big screen after nearly 50 years of success, but does everyone’s favourite extra-terrestrial stand the test of time, or will a fresh look at this odd classic leave the audience wanting to “go home”.
E.T holds a unique place in the cosmos that is cinema history. A film that, when released, not only became the highest grossing film ever at that time but a critical darling too. It cemented the already much accomplished director Steven Spielberg as a titan of blockbuster film, and its numerous parodies, spoofs and homages in film and television since then are a testament to the impact E.T made when it was first released in 1982. For many, E.T is the defining kids’ film, a story of friendship, family, and fitting in. To revisit a film held in such high regard for so many with anything other than admiration seems discourteous, as though any critique of a much-loved classic is merely a way to buck a trend and pass off a kind of edgy, non-conformist take. And yet, there are things in E.T that make us question the film’s longevity and even ask what all the fuss was about in the first place.
Obviously, there are elements that will always stand out for brilliance, John William’s iconic score being one of them. It is simply delightful, with its heavy use of flute, fluttering through and illuminating whimsy, or the huge swells of brass erupting in the more soulful moments, which in the BFI cinema are titanically loud. It is also beautifully shot, with camera movements and mise-en-scene that were to become the calling cards of Spielberg’s style. The opening movement, for example, is extraordinary, with the way the camera moves through the forest, the flickering lights, the mystery of it all, tied up perfectly to Willams’ score.
Then there are the much-acclaimed performances by the young cast, which are remarkable. Henry Thomas as Elliot carries so much of the film’s emotional weight, and in his eyes, you really do see the struggles of a boy who doesn’t know his place in the world. Robert MacNaughton is great as Michael, the all-American kid who at first fits the mould as the stock domineering big brother, but later you find that his heart is in the right place. A very young Drew Barrymore completes the set as Gertie, whose pithy one liners are a delight. Dee Wallace is brilliant as the mum, Mary, a complex character struggling with her own inner turmoil whilst also having to raise three kids. Wallace inhibits the role with sheer believability; it’s a very subtle performance, but it sticks with you. The chemistry between the family is tangible and treads the line perfectly between fragility and strength. The best scenes in the film are surely when the family are just having dinner, and you see the inner relationships and familial stresses on full display.
Now to address the little brown elephant in the room. The film only works if you find E.T endearing, and nothing he did in the film could convince me of it. Once described by Spielberg as having a face only a mother could love, Carlo Rambaldi’s puppet is nothing short of creepy. Yes, you can appreciate the technology and marvel at the process of bringing E.T to life, but that doesn’t change the fact that there is something inherently sinister about him, his facial expressions, the way he moves, are simply quite unnerving. The only moment where he has some degree of cuteness is when he has a sheet over his head at Halloween.
As for his friendship with Elliot, there are moments that work, the flying bike scene still holds some degree of wonder, for example. However, the strange and unexplained telepathic connection that the two share is too on the nose, and the scene in which E.T and by association Elliot, get drunk on Coors beer is totally unnecessary and in bad taste. What could have been a story about the power of true friendship instead becomes something odd and unrelatable. The syrupy goodbye ending does what it can to get an emotional response out of the audience, lots of tears and swelling music, however, at this point I was more than ready for E.T to get on his spaceship and fly away.
Seeing a film of this scale and acclaim on the big screen certainly helps, and the BFI Cinema has the perfect facilities to hold a celebrative screening such as this, and other classics, remastered or not, would be very welcome finding home again on the BFI stage. However, in the case of E.T. the Extra-Terrestrial, though there is exceptional film making on display, I simply cannot love the titular character enough, and this negates the film’s deep nostalgic splendour.
E.T the Extra Terrestrial was screened as part of the BFI’s Steven Spielberg season.