On Wednesday, I saw E.T. in Concert with the Seattle Symphony.
My memory of seeing E.T. in the theater when I was 6 years old is vivid. My sister and my cousin took me. We sat closer than we normally would because the theater was full. It was crowded and hot and I didn't take my eyes off the screen for the duration.
I developed an instant crush on Elliot (Henry Thomas) and even though we're the same age, found Gertie (Drew Barrymore) to be adorable. I was scared of E.T. at first, but once they showed how gentle he was, and the scenes with the beer drinking and costumes surfaced, I was completely on-board with this new alien friend.
My other remembrance is how hard I sobbed when Elliott and E.T. suffered in the makeshift treatment facility that the government sets up in Elliott's house. Scarred me for life.
That said, the iconic bike scene and the legendary score by John Williams never left me, and I went on to consume many Reese's Pieces and buy E.T.-related memorabilia in the years that followed (I still have a pair of socks and earrings).
I was delighted when I saw this would return to the theater and be accompanied live by the Seattle Symphony last winter and quickly bought tickets. Unfortunately, our snow storm postponed the performance and we just now got to see it. I can safely say it was worth the wait.
The sweet tale of a family struggling with parental separation in the 1980s focuses on the bond between Elliott (the boy who finds the alien) and E.T. the Extraterrestrial. Instead of siblings that are always at each other's throats, the brothers and sister in this family look out for each other (and successfully hide E.T. for a period of time).
Drew Barrymore is the standout as young Gertie—an exceptional actress even then, she's alternately funny, vulnerable and sad.
I enjoyed seeing this Spielberg classic on the screen again and feel privileged I got to hear the amazing live music that accompanied it.
The narrative is simple: find alien, hide alien, attempt to reunite alien with his family before the government captures him to experiment on him, but the story is told with such heart that it's remained in our consciousness for over 40 years. It should—and most likely will—hold that legacy forever.
~~~
Showing posts with label Steven Spielberg. Show all posts
Showing posts with label Steven Spielberg. Show all posts
Saturday, July 13, 2019
Thursday, June 20, 2019
Jaws
Tonight I saw Jaws, starring Richard Dreyfuss and Roy Scheider in honor of its 44th anniversary.
The legendary score, the almost-laughable fake shark, the unlikely bonding of the bros who venture out to kill the beast—I simply never tire of this classic, which is just a few months older than me.
I've seen the film dozens of times, but I don't recall ever enjoying it on the big screen, so I was thrilled to see that one of my favorite indie theaters would host a complimentary viewing as part of their Throwback Thursday series. The crowd was in my age range (with many of their kids in tow) and the audience behavior was perfect. Absolute silence throughout, with the exception of claps and cheers when famous lines were spoken.
The thing I realized that had never dawned on me before was the emphasis on the 1%/educated character besting the blue collar warrior who at first seems to know far better in every circumstance. It's an interesting lens in which to see the film, especially in light of our class divisions present day, and one that perhaps deserves a closer look.
Nevertheless, the experience was a wonderful way to welcome summer and keep me out of the water for at least a few more days.
~~~
The legendary score, the almost-laughable fake shark, the unlikely bonding of the bros who venture out to kill the beast—I simply never tire of this classic, which is just a few months older than me.
I've seen the film dozens of times, but I don't recall ever enjoying it on the big screen, so I was thrilled to see that one of my favorite indie theaters would host a complimentary viewing as part of their Throwback Thursday series. The crowd was in my age range (with many of their kids in tow) and the audience behavior was perfect. Absolute silence throughout, with the exception of claps and cheers when famous lines were spoken.
The thing I realized that had never dawned on me before was the emphasis on the 1%/educated character besting the blue collar warrior who at first seems to know far better in every circumstance. It's an interesting lens in which to see the film, especially in light of our class divisions present day, and one that perhaps deserves a closer look.
Nevertheless, the experience was a wonderful way to welcome summer and keep me out of the water for at least a few more days.
~~~
Friday, January 05, 2018
The Post
This morning I saw The Post, starring Meryl Streep and Tom Hanks.
It's hard not to anticipate liking a movie when Streep and Hanks are its two biggest stars and Spielberg is the director. You know they'll never let you down and this film was no exception.
In 1971, The New York Times revealed the first secrets contained within The Pentagon Papers, a classified commissioned study about the Vietnam War. It was leaked to them by a military analyst who also sent the same pages to various media outlets. When Nixon's White House imposed an injunction on the newspaper for printing "secrets," The Washington Post was faced with the tough decision whether or not to proceed with what they had from the same analyst.
Ben Bradlee (Hanks), the Executive Editor of the newspaper, was greatly in favor of publishing the scoop because he wanted to get in the game as a national publication; Katherine Graham (Streep), the publisher, had reservations because they had just taken the company public and the action could cause investors to flee, which ultimately meant risking the health of the newspaper.
Of course, there's also the matter of women (even those in charge) not getting their due respect from (most of) the men in the room. Ms. Graham was an absolute professional who believed in maintaining decorum, despite the chauvinistic actions of her colleagues and board members, but she also knew the decision was hers and went with her instincts.
Whether or not you know the outcome of the real events, this movie will have you gripping your seat in suspense, right up to the end. Perhaps because I saw the first public showing in Seattle today, I was in the most amped-up company, but the energy in the room was palpable.
Every time Ms. Graham shut a man down, people clapped. When key elements of the outcome were revealed, everyone cheered. An elderly woman stood up after the final scene, screamed an obscenity to our current Commander-in-Chief and the crowd went wild. It was the type of moviegoing experience that makes putting up with all the other theater nonsense worth it.
The acting is so good here that I got goosebumps several times over, just the way they delivered their lines. I heard recent replays of interviews with the real Graham and Bradlee and I'd swear they dubbed in their voices if I didn't know better (plus, Graham passed away many years ago, so that would be impossible).
Just go see it. It's painfully timely, but just what the doctor ordered.
~~~
It's hard not to anticipate liking a movie when Streep and Hanks are its two biggest stars and Spielberg is the director. You know they'll never let you down and this film was no exception.
In 1971, The New York Times revealed the first secrets contained within The Pentagon Papers, a classified commissioned study about the Vietnam War. It was leaked to them by a military analyst who also sent the same pages to various media outlets. When Nixon's White House imposed an injunction on the newspaper for printing "secrets," The Washington Post was faced with the tough decision whether or not to proceed with what they had from the same analyst.
Ben Bradlee (Hanks), the Executive Editor of the newspaper, was greatly in favor of publishing the scoop because he wanted to get in the game as a national publication; Katherine Graham (Streep), the publisher, had reservations because they had just taken the company public and the action could cause investors to flee, which ultimately meant risking the health of the newspaper.
Of course, there's also the matter of women (even those in charge) not getting their due respect from (most of) the men in the room. Ms. Graham was an absolute professional who believed in maintaining decorum, despite the chauvinistic actions of her colleagues and board members, but she also knew the decision was hers and went with her instincts.
Whether or not you know the outcome of the real events, this movie will have you gripping your seat in suspense, right up to the end. Perhaps because I saw the first public showing in Seattle today, I was in the most amped-up company, but the energy in the room was palpable.
Every time Ms. Graham shut a man down, people clapped. When key elements of the outcome were revealed, everyone cheered. An elderly woman stood up after the final scene, screamed an obscenity to our current Commander-in-Chief and the crowd went wild. It was the type of moviegoing experience that makes putting up with all the other theater nonsense worth it.
The acting is so good here that I got goosebumps several times over, just the way they delivered their lines. I heard recent replays of interviews with the real Graham and Bradlee and I'd swear they dubbed in their voices if I didn't know better (plus, Graham passed away many years ago, so that would be impossible).
Just go see it. It's painfully timely, but just what the doctor ordered.
~~~
Sunday, November 25, 2012
Lincoln
On Friday I saw Lincoln, starring Daniel Day-Lewis and Sally Field.
The last few months of Abraham Lincoln's life are often overshadowed by stories of his famous assassination at Ford's Theatre. In Steven Spielberg's new film, the months leading up to that event take center stage.
Daniel Day-Lewis plays the popular president in the most historically accurate way possible: hunched over, soft-spoken and thoughtful. According to the scholars, Mr. Lincoln was all of those things.
What's so brilliant about this performance is that his humanity, and his elegant simplicity, shines through. Lincoln was a common man from humble beginnings, and his gift for knowing 'real' people is part of what made him a great politician.
The film shows the president's struggle to get the 13th Amendment passed as his son threatens to go off to war and his wife Mary (Field) forbids it, having already lost one son to the country. Field's performance as the 'crazy' First Lady is played less hysterically than one might expect, and that's what makes it work.
Joseph Gordon-Levitt is a convincing young Robert Todd Lincoln, and the rest of the supporting cast: David Strathairn, John Hawkes and Tommy Lee Jones, all work their magic as the movers and shakers of the time.
The usual Spielberg-ian grandeur is traded in this time for what mimics a quiet stage performance, and that makes sense since the screenwriter, Tony Kushner, is a Pulitzer Prize-winning playwright.
If you're looking for a Civil War-era film with action, this isn't the movie for you; but if you want to see some of the most impressive acting of the year, coupled with a slice of history often forgotten, you need to see Lincoln.
~~~
The last few months of Abraham Lincoln's life are often overshadowed by stories of his famous assassination at Ford's Theatre. In Steven Spielberg's new film, the months leading up to that event take center stage.
Daniel Day-Lewis plays the popular president in the most historically accurate way possible: hunched over, soft-spoken and thoughtful. According to the scholars, Mr. Lincoln was all of those things.
What's so brilliant about this performance is that his humanity, and his elegant simplicity, shines through. Lincoln was a common man from humble beginnings, and his gift for knowing 'real' people is part of what made him a great politician.
The film shows the president's struggle to get the 13th Amendment passed as his son threatens to go off to war and his wife Mary (Field) forbids it, having already lost one son to the country. Field's performance as the 'crazy' First Lady is played less hysterically than one might expect, and that's what makes it work.
Joseph Gordon-Levitt is a convincing young Robert Todd Lincoln, and the rest of the supporting cast: David Strathairn, John Hawkes and Tommy Lee Jones, all work their magic as the movers and shakers of the time.
The usual Spielberg-ian grandeur is traded in this time for what mimics a quiet stage performance, and that makes sense since the screenwriter, Tony Kushner, is a Pulitzer Prize-winning playwright.
If you're looking for a Civil War-era film with action, this isn't the movie for you; but if you want to see some of the most impressive acting of the year, coupled with a slice of history often forgotten, you need to see Lincoln.
~~~
Thursday, January 26, 2012
War Horse
Tonight I saw War Horse, starring Jeremy Irvine and Emily Watson.
It's been a long time since I've made it through an endurance test like this. I had a feeling it wouldn't be my cup of tea, and sadly, it wasn't.
Albert (Irvine) is the young son of a drunken farmer who promises his mother, Rose (Watson), that he will train and care for the horse his dad paid too much for at auction. The horse's name is Joey, and he's—of course—beautiful and smart.
By the time Albert and Joey bond, drunken papa has sold the horse to the Army. Though all signs point to the horse being lost/killed in WWI, Albert claims he will see him again. He's not kidding.
Calling them a series of unfortunate events would be a gross understatement. Let's just say, poor Joey goes through hell. In fact, the only scene that got me misty-eyed was the one where the horse tries to escape the human horrors of war only to get completely tangled in barbed wire. This prompts soldiers from both sides of the fight to take a time out from combat and help the poor animal break free. The bit was wonderful and reminded me of another film where soldiers pause in war to share one another's company peacefully during a holiday called Joyeux Noel. But I digress.
Joey gets passed off to several owners during his journey, and his journey (along with ours) is a long one.
The redeeming moments of the film have everything to do with the beautiful cinematography, the excellent score (seldom does Spielberg ever get that wrong) and the acting from the horse. Yes, the horse.
I'll admit to loving the closing shot—something that reminded me of Gone With the Wind, and was most likely intended to.
It's just a shame that the majestic, amber sunset didn't arrive before I got bored.
~~~
It's been a long time since I've made it through an endurance test like this. I had a feeling it wouldn't be my cup of tea, and sadly, it wasn't.
Albert (Irvine) is the young son of a drunken farmer who promises his mother, Rose (Watson), that he will train and care for the horse his dad paid too much for at auction. The horse's name is Joey, and he's—of course—beautiful and smart.
By the time Albert and Joey bond, drunken papa has sold the horse to the Army. Though all signs point to the horse being lost/killed in WWI, Albert claims he will see him again. He's not kidding.
Calling them a series of unfortunate events would be a gross understatement. Let's just say, poor Joey goes through hell. In fact, the only scene that got me misty-eyed was the one where the horse tries to escape the human horrors of war only to get completely tangled in barbed wire. This prompts soldiers from both sides of the fight to take a time out from combat and help the poor animal break free. The bit was wonderful and reminded me of another film where soldiers pause in war to share one another's company peacefully during a holiday called Joyeux Noel. But I digress.
Joey gets passed off to several owners during his journey, and his journey (along with ours) is a long one.
The redeeming moments of the film have everything to do with the beautiful cinematography, the excellent score (seldom does Spielberg ever get that wrong) and the acting from the horse. Yes, the horse.
I'll admit to loving the closing shot—something that reminded me of Gone With the Wind, and was most likely intended to.
It's just a shame that the majestic, amber sunset didn't arrive before I got bored.
~~~
Sunday, June 12, 2011
Super 8
This morning I saw Super 8, starring Joel Courtney and Elle Fanning.
Joe (Courtney) is the son of the town deputy—an only child who lost his mother earlier in the year to a workplace accident. Alice (Fanning) is a girl from school who has a father who is always in trouble and a mother who has abandoned them. The two kids are, of course, destined to be together.
Their mutual friend Charles (Riley Griffiths) is making a film and they are both helping. As they become each other's certain first loves, they find themselves entangled in the aftermath of a local train crash, which has epic consequences.
You see, a creature of some sort (probably of the alien variety) has emerged from the crash and begun to wreak havoc on the entire town, apparently stealing dogs, people and copper. And let's just say each time "it" arrives, it "makes an entrance."
In the fashion of classic Spielberg hits like E.T. and The Goonies, the kids know more than the adults and are therefore tasked with saving the day.
Really, that was all fine with me.
Predictable as it was (and toward the end I was practically mouthing lines, though I'd never seen Super 8 before today), it was still incredibly enjoyable to watch a film set in the 70s that actually felt like the real 70s.
I loved seeing a dish on the table at one of the family's homes that was in my home as a kid, and I couldn't help but smile at the nod to the "new invention" of the Walkman.
I'm glad to see in our world of 3D, CGI, bigger-is-better film mentality that the studios are still willing to green light the occasional coming-of-age caper.
This one doesn't disappoint.
~~~
Joe (Courtney) is the son of the town deputy—an only child who lost his mother earlier in the year to a workplace accident. Alice (Fanning) is a girl from school who has a father who is always in trouble and a mother who has abandoned them. The two kids are, of course, destined to be together.
Their mutual friend Charles (Riley Griffiths) is making a film and they are both helping. As they become each other's certain first loves, they find themselves entangled in the aftermath of a local train crash, which has epic consequences.
You see, a creature of some sort (probably of the alien variety) has emerged from the crash and begun to wreak havoc on the entire town, apparently stealing dogs, people and copper. And let's just say each time "it" arrives, it "makes an entrance."
In the fashion of classic Spielberg hits like E.T. and The Goonies, the kids know more than the adults and are therefore tasked with saving the day.
Really, that was all fine with me.
Predictable as it was (and toward the end I was practically mouthing lines, though I'd never seen Super 8 before today), it was still incredibly enjoyable to watch a film set in the 70s that actually felt like the real 70s.
I loved seeing a dish on the table at one of the family's homes that was in my home as a kid, and I couldn't help but smile at the nod to the "new invention" of the Walkman.
I'm glad to see in our world of 3D, CGI, bigger-is-better film mentality that the studios are still willing to green light the occasional coming-of-age caper.
This one doesn't disappoint.
~~~
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