E.T. the Extra-TerrestrialTrue friendship is a rare bond that can blossom even under the most astronomical odds. E.T. the Extra-Terrestrial is a science fiction film about a stranded alien who is discovered by a young boy named Elliott (Henry Thomas). The two are initially terrified of one another, but they eventually become friends and join into a sympathetic link, literally and metaphorically. While Elliott tries to conceal the alien--who he dubs "E.T."--a secretive squad of government agents monitor and close in on his family home. Elliott becomes E.T.'s only hope to contact his family in the stars so that he can return home.
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E.T. the Extra-Terrestrial is a beloved family film and cinematic classic, a movie which has awed and captivated virtually all audiences, while holding the distinction of being the highest-grossing film of all time for many years. There is no individual aspect which accounts for its magic, but a combination of many great elements that tell a fantastic story while recalling memories of childhood. There is the symphonic score by John Williams, which is so deft and acutely timed to the high points of the adventure as to be borderline operatic, building to crescendos at legendary moments, like when E.T. levitates Elliott's bicycle above the coniferous forest. The forest itself is like something from another world, an alien realm of mystery--dark and filled with massive evergreens, it could be what E.T.'s home is like. Then there is E.T. himself--what we know about the squat, brownish alien is teased in parts, and the audience is never subject to exposition that would only diminish the mystery. What we know comes from Elliott's observations. He is a creature with the ability to bring life to that which is withering, be it flowers or Elliott's inner pain. Elliott is coping with feelings of abandonment by his estranged and never seen father. E.T. is sympathetic to Elliott, and he forms an emotional link with the boy--as Michael (Robert MacNaughton), his older brother observes, Elliott "feels his feelings". (Coincidentally, both "E.T." and Elliott's names are similar, even if E.T. isn't his real name.) By making E.T. shorter than virtually all of the other characters in the film, E.T. the Extra-Terrestrial avoids running the risk of the alien appearing threatening or oppressive, and his strange yet adorable appearance looks a bit like a shaved cat crossed with Yoda from Star Wars.
It's likely that E.T. and his fellows--who were forced to abandon him at the sudden appearance of potentially hostile humans--are scientists who came to Earth to study its indigenous life. But what began as mere horticulture became a study of human society in Elliott--more important, a meaningful friendship that proves far more valuable than sterile scientific method. A theme in E.T. the Extra-Terrestrial is that science without compassion can do more harm than good. This is evidenced by the menacing government agents and scientists lurking in the shadows, spying on Elliott's neighborhood while tracking down E.T. like a fugitive. When they finally emerge, led by the heretofore faceless scientist known for the dangling keychain on his belt loop (Peter Coyote), they surround the house in astronaut suits, with blazing bright lights behind them, as they claw their way in like the proverbial "space invaders" they seek, and terrorize Elliott's family in the process. They cover the house in plastic, making it look like a quarantine zone or a body bag to be shipped off and dissected. One of the most memorable scenes in E.T. the Extra-Terrestrial is when Elliott--and the rest of his class--are charged to dissect living frogs. This scene emphasizes the chemical link between E.T. and Elliott, as well as the question about the morality of science. The sympathetic connection between the two is in full swing, and Elliott's liberation of the frogs is fostered by E.T.'s experiences alone at home, involving a combination of television, beer, and Elliott's crush on a girl in class. The condemned frogs hop to freedom--something E.T. seeks--and Elliott feels the rush that comes with resisting purposeless conformity, and follows his heart.
Something which was less obvious when I first saw E.T. the Extra-Terrestrial was how E.T. represents a means for Elliott and his family to cope in the recent absence of Elliott's father, who left Elliott's mother, Mary (Dee Wallace), to raise the three children by herself. Perhaps the exception of the youngest child, Gertie (Drew Barrymore), who may be too young to understand, the rest of the family is clearly hurting, feeling abandoned in different ways. This accounts for why Elliott is anti-social, or at least a bit awkward and unable to express his feelings adequately--he yells at his brother at the dinner table, and shouts when no one is listening to him. Elliott is an intelligent boy, and is hurt when people don't believe him when he describes seeing E.T. in the tool shed one night; he lashes out inappropriately, saying things when he is mad that he should know would hurt his mother. These are understandable emotions for a child to have when they feel neglected or unwanted. Mary also struggles to manage this crisis along with all of the others in the home, and often comes across as scattered or distracted. (How else can the audience plausibly account for her being totally oblivious to E.T.'s presence--and the scattered beer cans around the house--when she comes home from the supermarket with Gertie?) E.T.'s ability to "heal" this metaphorical wound is through his sympathy with Elliott, and encouraging the kindness and generosity of the other children. They help E.T. try to contact his family by helping him build a complicated machine from their assorted toys and appliances, because they can relate to the fear of being apart from a loved one. There is a divide between adults and children in E.T. the Extra-Terrestrial; many adults, like "Keys" and Elliott's teacher, do not have their faces shown, or are obscured, implying that they are not able to relate to the children or don't care about their problems. Although "Keys" eventually tries to sympathize with Elliott's pain, I've always felt that his attempts to assuage Elliott's suffering are hollow at best, artificial at worst. "Keys" represents the absent dad in the family, and his "return" feels disingenuous. E.T. represents honesty and integrity of emotions--he practically wears his heart on the outside. This sympathy for the feelings that children (and families) experience when they struggle to cope with losing a family member makes E.T. the Extra-Terrestrial a heart-warming and poignant reminder of what it means to know friendship and come to terms with the feelings in your heart, no matter your age or planet of origin.
Recommended for: Fans of a near miraculous story about friendship, love, hope, grief, childhood, and understanding set against the backdrop of a fantastic science fiction story. If there is a film which could truly be described as "timeless", it is E.T. the Extra-Terrestrial.
It's likely that E.T. and his fellows--who were forced to abandon him at the sudden appearance of potentially hostile humans--are scientists who came to Earth to study its indigenous life. But what began as mere horticulture became a study of human society in Elliott--more important, a meaningful friendship that proves far more valuable than sterile scientific method. A theme in E.T. the Extra-Terrestrial is that science without compassion can do more harm than good. This is evidenced by the menacing government agents and scientists lurking in the shadows, spying on Elliott's neighborhood while tracking down E.T. like a fugitive. When they finally emerge, led by the heretofore faceless scientist known for the dangling keychain on his belt loop (Peter Coyote), they surround the house in astronaut suits, with blazing bright lights behind them, as they claw their way in like the proverbial "space invaders" they seek, and terrorize Elliott's family in the process. They cover the house in plastic, making it look like a quarantine zone or a body bag to be shipped off and dissected. One of the most memorable scenes in E.T. the Extra-Terrestrial is when Elliott--and the rest of his class--are charged to dissect living frogs. This scene emphasizes the chemical link between E.T. and Elliott, as well as the question about the morality of science. The sympathetic connection between the two is in full swing, and Elliott's liberation of the frogs is fostered by E.T.'s experiences alone at home, involving a combination of television, beer, and Elliott's crush on a girl in class. The condemned frogs hop to freedom--something E.T. seeks--and Elliott feels the rush that comes with resisting purposeless conformity, and follows his heart.
Something which was less obvious when I first saw E.T. the Extra-Terrestrial was how E.T. represents a means for Elliott and his family to cope in the recent absence of Elliott's father, who left Elliott's mother, Mary (Dee Wallace), to raise the three children by herself. Perhaps the exception of the youngest child, Gertie (Drew Barrymore), who may be too young to understand, the rest of the family is clearly hurting, feeling abandoned in different ways. This accounts for why Elliott is anti-social, or at least a bit awkward and unable to express his feelings adequately--he yells at his brother at the dinner table, and shouts when no one is listening to him. Elliott is an intelligent boy, and is hurt when people don't believe him when he describes seeing E.T. in the tool shed one night; he lashes out inappropriately, saying things when he is mad that he should know would hurt his mother. These are understandable emotions for a child to have when they feel neglected or unwanted. Mary also struggles to manage this crisis along with all of the others in the home, and often comes across as scattered or distracted. (How else can the audience plausibly account for her being totally oblivious to E.T.'s presence--and the scattered beer cans around the house--when she comes home from the supermarket with Gertie?) E.T.'s ability to "heal" this metaphorical wound is through his sympathy with Elliott, and encouraging the kindness and generosity of the other children. They help E.T. try to contact his family by helping him build a complicated machine from their assorted toys and appliances, because they can relate to the fear of being apart from a loved one. There is a divide between adults and children in E.T. the Extra-Terrestrial; many adults, like "Keys" and Elliott's teacher, do not have their faces shown, or are obscured, implying that they are not able to relate to the children or don't care about their problems. Although "Keys" eventually tries to sympathize with Elliott's pain, I've always felt that his attempts to assuage Elliott's suffering are hollow at best, artificial at worst. "Keys" represents the absent dad in the family, and his "return" feels disingenuous. E.T. represents honesty and integrity of emotions--he practically wears his heart on the outside. This sympathy for the feelings that children (and families) experience when they struggle to cope with losing a family member makes E.T. the Extra-Terrestrial a heart-warming and poignant reminder of what it means to know friendship and come to terms with the feelings in your heart, no matter your age or planet of origin.
Recommended for: Fans of a near miraculous story about friendship, love, hope, grief, childhood, and understanding set against the backdrop of a fantastic science fiction story. If there is a film which could truly be described as "timeless", it is E.T. the Extra-Terrestrial.