Rating: 
Summary: Good to see the orginal film again, it needs the S/E ending!
Review: G'day from Australia, when l found out about the "Collectors Edition" being released, l couldn't wait to get acopy. Close Encounters wont be released here in Australia for quite some months! so thanks to Amazon.com l received a copy from USA, which plays very well on my system here, it was so good to see all the scenes that are removed from the "Special Edition" but l hoped, l really hoped that because it was called the "Collectors Edition" it may include the Special Edition ending sequence as well, but no, l dont know why Steven Spielberg, or whoever, didn't do us fans a favour and edited it all together..oh well it is good to have the Orginal release in the library non the less..Clint.J
Rating: 
Summary: Brilliant!!!
Review: Truly one of the all-time great movies ever made, it still floors me to think that Spielberg was only about 28 years old when he directed this film. He also wrote it, and it's a damned mature work for his age at the time -- strangely, other films of his that would follow (ie. Indy Jones, E.T., Hook) were entertaining, but not nearly so adult.This film succeeds by making our own fear of the unknown the villian, and not some cliched men-in-black operative, or bug-eyed alien. Few, if any, films have ever duplicated that feat. A masterpiece I would say, both visually and thematically. No film since has captured the scope or awe of what "first contact" with an alien species would be like quite like this Spielberg gem. Unfortunately, even this widescreen, letterboxed transfer of the film on video doesn't quite convey the full impact -- only the big-screen can do that. END
Rating:
Summary: "Toys!"
Review: 4.5 stars. This is easily one of my favorite early films from living, legendary filmmaker Steven Spielberg. This film and "Jaws" are two incredible, remarkable achievements from the 1970s. In 1977 all I really remember was the release of another science fiction film by the name of "Star Wars," and it wasn't until the early eighties on cable television that I began to appreciate "Close Encounters of the Third Kind." I even read the book. What seperates Spielberg's early films from his more recent work, I think, is a sense of inspired enthusiasm for every aspect of the film. His more recent films are less fantastic and more visceral, such as "Schindler's List" and "Saving Private Ryan," which are both monumental, technical achievements, but are much less entertaining than his early work. Both "E.T." and "Poltergeist" are excellent examples of this. Though the primary director of "Poltergeist" was Tobe Hooper, the film has an undeniable Spielberg stamp on it. "Close Encounters of the Third Kind" falls into this category, as well. One of the aspects that sets his early films apart from most was his subtle, yet effective sense of humor. There is a scene when a little boy is standing in the middle of the road looking at an old man whistling. This is just moments before spacecraft come zooming around the corner being chased by police cars. The tune the old man is whistling is "She'll be comin' 'round the mountain." Another scene is late in the film when there is a shot of about twenty cameras taking pictures at high speed. A man stands up next to the cameras holding a single-click camera and snaps a single shot. Another great shot is when the same spacecraft that were being chased go flying through(rather than over) a toll booth setting off alarms. Then there is the scene when Richard Dreyfuss goes down to the main landing area to get a closer look at the spacecraft flying about and thinks a man running at him is about to apprehend him. The man bumps into him then careens away toward a row of portable toilets. But there are plenty of dated sequences, particularly the special effects. While most still look great, others look like models or are slightly comical by today's CGI standards. But this is still a great story with some excellent acting, most notably from Richard Dreyfuss who won the Oscar for Best Actor in the same year for "The Goodbye Girl." I can't help feeling that his work in this film added to the Oscar voting. Apart from the magical Spielberg touches, which are everywhere, there is a largely under-appreciated force in this film in the score by composer John Williams. John Williams also won the Oscar for Best Score that same year for "Star Wars." There is another humorous nuance late in the film where John Williams incorporates a non-too-subtle reference to the score he wrote for "Jaws." As for the Special Features section on the DVD they finally have the deleted scene showing the inside of the Mother Ship. In the cable TV version this was part of the film, but it was not in the original, and is not in this feature film on the DVD. Steven Spielberg mentions in the documentary that he wishes he had never filmed the sequence, leaving the inside of the ship a mystery. But I love the scene, and I think it adds even more majesty to the ship seeing how huge it is from the inside. Speaking of the documentary...watching it made me notice how flawed the final film really is. Like how fake each and every alien looks. With all the CGI effects available today, the amazing technology being used, those aliens are an anti-climax. But the Mother Ship, and many other special effects shots, still look excellent. As for my favorite scene, it comes when Richard Dreyfuss is stopped at the railroad tracks and we are looking through the windshield at him purusing a map. We see a car pull up behind, and after he waves for the car to pass, it goes by and there is a small bit of humorous dialogue. A moment later, we see another "car?" pull up behind him. He waves for this one to drive as it stops. Instead of driving by, it rises up and over his truck, and in moments one of the best scenes in the film completely unfolds. This is a Sci-fi gem from the 1970s. I highly recommend buying this DVD. Thank you.
Rating:
Summary: The Neary Family is as impressive as the light show
Review: For me the portrayal of the Neary family is equally as stunning as the portrayal of the spacecraft throughout the movie. The acting in any scene involving the Nearys is astounding. Even though that family doesn't end up the way we might hope, they behave exactly like a real family might when faced with their situation. Pay special attention to the children. Their reactions are dead on. The special effects are breathtaking and continue to prove, as have so many other great films, that the old way of doing effects is far more spectacular and convincing than today's cartoonish CGI effects.
Rating:
Summary: Superior to the special edition but not the original
Review: This version is basically the 1980 "Special Edition" without the ridiculous "inside the Mother Ship" sequence at the end. All of the other scenes added for the special edition (The ship in the desert and the additional scenes of Roy Neary's breakdown) are here. The main scene cut from the original version, which shows Roy Neary at work at the power station is still missing, but it is present as one of 11 deleted scenes on the second disk of this set. Most of these scenes were justifiably cut from the film, adding nothing to the story. Most interesting is an alternate meeting between Bob Balaban and Francios Truffaut in a limousine at an airport. Similar dialog but different. This scene was clearly meant to follow the air traffic control scene that is still in the movie. Also includes the obligatory "Making of Documentary, clearly shot at the same time as "Saving Private Ryan" as Spielberg is filmed in front of a debris strewn European street. This is a first class DVD presentation. I just wish that they could have done what they did with "The Abyss" and include BOTH versions of the film.
Rating:
Summary: Several versions floating around
Review: There is the dark version that cut out all the comic scenes like throwing all the dirt in the window, and added some "Mother gets disturbed scenes." I bought this first because I thought it had the special ending where the inside of the ship is shown. But I did not know that it was completely remade. Some of the Gas mask scenes are missing also.
Other than that if you did not see the original or the third version that is shown periodically on TV you would like this movie and it is worth the purchase price.
Closer to the original but still not the one shown on TV is "Close Encounters of the Third Kind" This is the lighter version, with many comic relief scenes.
It is almost impossible to know which version is being sold under which cover. So you may have to buy several versions.
Example light version: ASIN: 0767827031
Example dark version: ASIN: 0800198395
Feel free to tell me of other versions.
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Roy Neary is n routine maintenance work when his vehicle is approached from behind at night. He waves the approacher around to find the visitor is not quite kosher. Turns out he is about to have an encounter of the third kind.
The story is a series of lives that cross with each other as each is invited to rendezvous at a location to meat with special visitors. It is how they respond to the invitation and each other that is the story. That is how one version can be made light and witty. Yet another version is dark and sinister.
Rating:
Summary: Spielberg Wonders
Review: I realize I said the first review I would do would be 2001, but after learning Amy had never seen Close Encounters we decided to watch it last night. And thus you get a review.
This movie is pure joy to me. This makes it rather difficult for me to actually review the movie and not just give it praise. Since I have seen it numerous times, and there are then no suprises for me, so I must first warn the reader that there will probably be **spoilers** in this review. So if you have not seen it and do not want any details of the film, stop reading now.
There were a few difference with this viewing than in previous viewings. First I have actually been to the Devils Tower in Wyoming. Having actual seen this natural monument takes a little mystery out of it in the film. For years it seemed more like something out of the filmakers imagination, something of the dreams of Hollywood, than something real. Something made of rocks and dirt. The mysterious glow that surrounded the rock in the film, and especially the first actual appearance in the film on television, has been dimmed a little. Likewise as Richard Dryfuss sculps the mount in the begining I wanted to shout at him to flaten the top.
Secondly, I am now quite familiar with a number of Francois Truffaut's films. He plays the mysterious French scientist in the film, but is in reality, a gifted director and pioneer in the French New Wave. Being familiar with who the actor is, gave the character more depth and mystery. I wonder how Spielberg talked him into becoming an actor in his film. If he had any influence on the direction of the film. How much English he speaks.
Having learned a little French myself, and having a very good translator beside me also shed some light into what was actually being said in the French conversations. There are several moments in the film when Truffaut speaks in French and Spielberg uses no subtitles. I always felt this was intentional to give the film a little more mystery, to add the the international, interwordly feel to the film. So it was interesting now to actually understand what was being said.
I have also, for the past few years, lived in Indiana. Much of the movie takes place in Muncie, Indiana and I found the same joy that I always find when a movie, book, or song takes place somewhere I know or have been to. As if it becomes more real simply because I know the places it occurs.
To me, the film is less about aliens and more about a sense of wonderment. In a famous scene, a small boy stands in front of an open door which is ablaze in a fiery glow. You cannot see what is outside, but you have spend the previous minutes watching the boys mother become very frightened as the aliens attempt to enter the house. Yet the boy standing close tothese unseen and unknown creatures stands unafraid, even curious. There are many beautiful shots of a night sky with billions of brilliant stars sparkling. Throughout the film Spielberg seems to be using space and aliens as a means to express wonder and amazement at the unknown. Richard Dreyfuss' character loses interest in his family and outside life except for the mystery of the things he saw in the night sky and the recurrent thought of the mysterious mountain. Several times as he builds the mountain out of clay, dirt, mashed potatoes he proclaims that it must mean something, but isn't sure of what. Even in the last scene when he boards the alien craft there is no final meaning given. It's as if Speilberg is saying that it is the search for meaning in the universe, it is in looking with wonder at the great mysteries of the world that we in fact find some purpose, some meaning.
I was reading a review of Steven Spielberg as a director and one of the things it discussed was the directors tendency of not moving his camera. That he tends to allow action come to the camera's view instead of following the action with the camera. So as I watched this film I kept a keen eye out for camera movement. I did find this to be true, throughout the film the camera is still allowing the action to to move into view. That's not to say the camera was only in one place. In fact it often was placed in different parts of a room for a scene, but in any given shot there was little movement. No sweeping shots, no long tracking scenes. The biggest movement I saw was when Richard Dreyfuss and Melinda Dillon arrive at the Devils Tower. The camera then sweeps over the car and follows the characters up a hill to reveal, finally, the giant rock in a real shot. I'm not sure what to make of this, but found it interesting.
As in many of Spielbergs films there is distress in a marriage. Richard Dreyfuss and Terri Garrs marriage literally falls apart as Dreyfuss becomes more and more obsessed with his visions. There is one scene in particular where Dreyfuss is locked in a shower crying and Terri Garr begins to scream at him and scream at the children to go to their rooms. Speilberg uses several close up shots of the children to show how this fighting disturbs them. Spielberg has been on record to say that his own parent's divorce disturbed him deeply. Many of his films either show the distress of an unhealthy marriage, or the products of divorced. Yet in this film the creator of this unhappiness in marriage, Richard Dreyfuss' character, is the hero, is whisked away in the wonderful alien ship. I view this not as a detraction from the film but as an artisitc endeavor. Spielberg takes time out of his alien picture to show the hurt and pain Dreyfuss causes. Dreyfuss's character also shows remourse over his actions yet cannot turn away from his obsession. As he begins to tear down his scrapbooks of alien abductions he tears the pointy top of his clay Devil's Tower and becomes obsessed all over again. Though in reality I wold see such a person's actions in disgust and contempt in the context of the film I see it as a broader artistic action toward the overall goal of seeking deeper meaning and wonderment. Just as I can cheer for the violent destruction of the bad guy in an action movie when the reality which be abhorrant and grusome.
Overall, this is a wonderful, magical film.
Like this review? Visit www.midnitcafe.blogspot.com for more.
Rating:
Summary: Revolutionary UFO film
Review: If you're a fan of "Close Encounters of the Third Kind," the "special features" on the 2-disc DVD set of the film will probably answer every question you've ever had about the making of the movie. The "special features" include a long, "making of" documentary, that covers everything from what inspired Spielberg to make the film, to the actors, to how the visual effects were done. It's a very informative documentary. The "special features" also include deleted scenes, and some early test-footage that was awful, but interesting. And the DVD has the movie in widescreen, but it's not the original 1977 release, or 1980's "Special Edition," it's the version of the film that Spielberg originally wanted to release to theaters back in 1977, but couldn't at the time. Watch it, and you'll see how it's a little different from the other two versions.
The movie centers on folks in suburban and rural Indiana, and focuses on Roy Neary (Dreyfuss), a Public Works electrician, and a single mother with a small son. They all witness UFO's zooming around the Indiana countryside one night, and later find themselves drawn to the alien visitors by an implanted psychological vision. There's a side-plot of a highly secretive, Government-sponsored scientific research team, that's traveling around the world, tracking evidence of the alien visitors. The film eventually leads to a spectacular conclusion.
The story is very intelligent, and the visual effects of the UFO's are dazzling, but it was more breathtaking seeing these ships back in 1977 (as I did when I was a little kid), before people got "special effects-spoiled."
The movie was revolutionary in several ways, like the UFO's looking like highly intricate spacecraft that more resemble commercial jetliners at night (as opposed to the featureless flying saucers of the 1950s), the aliens being friendly (which struck me as a breakthrough concept when I first saw the film, being so used to the hostile alien-invasion movies), and the use of simple keyboard tones to communicate with the aliens, which was such a simple approach on Spielberg's part, that it was brilliant.
I was a little disappointed with the appearance of the aliens. I just couldn't match them with the UFO's. They just seemed a little too child-like to have been able to design and build such advanced spacecraft. But this was just a subjective observation on my part.
I thought the Neary family arguments and Roy running out on his family got a little too soap opera-ish for a science fiction film. And the movie ended with maybe the most ponderous ambiguity in motion picture history, especially concerning what happened to Roy after the Mothership took off-just one of the many questions the movie left unanswered. But overall, it's a great film.
And finally, the Army wouldn't crop-dust Devil's Tower, where there are no crops. Not being aware of this unfortunately made one of the characters miss out on his chance to see the Devil's Tower meeting with the alien visitors. This DVD set is a must for "Close Encounters" fans.
Rating: 
Summary: Close encounters doesn't cut it as classic cinema
Review: Can you believe, I have never seen CEO3K until the other week. I looked forward to seeing it, but unfortunately it did not measure up. After hearing mixed reviews (so many of them referred to it as 'boring'), I was prepared to give it a go.
Close Encounters is very slow moving, with the occassional interesting thing occurring, but it is not until the end where something interesting happens. And even then, I expected more. I was left thinking "is that it, after all that slow build-up?". Many scenes during the film are just too stupid for words.
I have viewed the 2-Disc collector's edition which apparently is a combination of the Director's Cut and the original theatrical version. For a first timer to the film, it made no difference to me. However, as fans of the film have stated, the tampering by Spielberg for this special edition was not appreciated. He re-edited the original version removing scenes that perhaps gave it its popularity (eg. Dreyfuss entering the mothership). Spielberg has said he will never re-instate these scenes. Doesn't it annoy you when a Director refuses to let people see a film the way they originally remember? It's almost a kick in the teeth for helping him make his millions. Oh well, at least he had the decency to allow the original 'untouched' version of E.T. to be included on the 2002 digitally enhanced version DVD.
The second disc of CE3K contains the extras which I guess would be gold for fans of the film. The DVD overall is a limited edition and at a price too - I am surprised at the price considering the film isn't that great. I wish someone could enlighten me on why this film is considered a classic.
Rating:
Summary: There are UFo's behind big clouds.
Review: This version does not include the "Special Edition" ending made in 1980 for the re-issue of the film. However, the "Special Edition" new ending is seen in Deleted Scenes on Disc 2.
The best science-fiction film ever made. Every child and adult should see it.
Definatly a movie that should be seen in the theater. Perhaps it should be re-released again.
This film has an all-star cast: Richard Dreyfuss, Teri Garr, Melinda Dillon, Bob Balaban, Francois Truffaut and George Di Cenzo.
The film is perfectly cast with Richard Dreyfuss, Teri Garr, Melinda Dillon and the young kids.
Rod Nerry (Richard Dreyfuss) is married to Ronnie (Teri Garr). They have three children (Shawn Bishop, Adrienne Campbell, Justin Dreyfuss). He is also a sensitive man. One night he drives to a rural area and stops at a railroad crossing. This moment is about to change the rest of his life. He continues to have visions of something, but he does not know what it is yet.
There is a mother, Jillian Guiler (Melinda Dillon) who raises her young son, Barry (Cary Guffey) in Muncie, Indiana. There is some kind of storm brewing over. The toys suddenly come on, the vaccuum is running around, the kitchen is a mess. Later, after her son is taken by a bright light, she too has these visions of something. Some people have the same vision and it leads them to one specific place in the United States.
Disc Two includes a 1 hour and 41 minute documentary, "The Making Of Close Encounters of the Third Kind". Very interesting details about filming locations,casting, a deleted scene, and seven new scenes added into the 1980 re-issue called "Special Edition: Close Encounters of the Third Kind". Also on Disc Two, an over 4-minute theatrical trailer of the original film and a theatrical trailer for the "Special Edition" version. An over 5-minute 1977 featureete of the original film. Over 15 unseen deleted scenes not seen in the original and not the "Special Edition", except for the "Special Edition" ending which is shown.
The original "Close Encounters of the Third Kind" was released in 1977. It ran at 2 hours, 15 minutes. In 1980, Steven Spielberg re-worked the film cutting some scenes out and adding newly-filmed scenes with more of Richard Dreyfuss inside the Mothership. It also included the song, "When You Wish Upon A Star" in end credits.
For the ABC Network version in the 1980's, another version of the film was made. It included the "Special Edition", but with "all existing footage" from the original film also added. It ran at over 2 hours and 20 minutes.
In 1998, Steven Spielberg again re-edited the film for a "Collector's Edition". It does not include the "Special Edition" ending of inside the Mothership with Richard Dreyfuss. It ran 2 hours and 17 minutes.
All of us fans hope that some day soon, Steven Spielberg may release the ultimate longest version with the original footage and the "special edition" footage and the additional network-tv footage all together in the movie itself and release it on DVD. A full-screen version (standard) would be nice too.
Subliminals: The top of the mothership made to look like an oil refinery with pipes and tubes, but subliminally to suggest scale like the New York City skyscrapers. The bottom of the ship like a huge breast, hince the name Mothership.
In a tight shot as ship flies in (rock and Melinda Dillon on right), a little upside-down R2-D2 (Star Wars [1977]) is hanging to the left of three circle lights.
The shapes in the shaving cream, the mud pack, the mashed potatoes are subliminal to what you will finally see.
Another film had the working title of "Night Skies" that could have become a sequel to Close Encounters of the Third Kind (1977). But the story was re-worked and ultimatly became, "E.T. The Extra-Terrestrail (1982).
Richard Dreyfuss and Teri Garr worked together again in Let It Ride (1989).
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