Just after reading "The Third Type of Contact", I found that Spielberg seems to like all kinds of fantasy "contact."
There is also the "Third Type of Contact" in 1977.
Maybe the director has a certain obsession with the relationship between creatures, and this kind of "contact" can indeed bring a lot of plot and promote the development of the plot.
I have watched a lot of current movies. Looking back at the "Third Kind of Contact" in 1977, it has a concise opening, clear and closely echoing plot. Although there is no big ups and downs of plot conflicts, it is advancing layer by layer, fascinating and immersing people again. In the charm of the movie, refreshing. Suddenly, I feel that many movies are light and easy now. It seems that I will watch more old movies to recharge them in the future.
The opening of "The Third Kind of Contact" is very simple, but it quickly brings people into the mysterious tone of the movie.
The sky was full of yellow sand, from far to near, two lights were on from far to near, and an off-road vehicle approached and stopped.
Several people got out of the car under the yellow sand and negotiated with the stationed military, only to find that they could not communicate with each other. Soon, a small car on the other side also stopped, and several scientific researchers came down.
A man reported that "they were all over there" and led the group to a group of fighter jets.
So, record the model of the aircraft and look for witnesses.
What are these two groups of people doing?
Although the fighter model is very old, it is still brand new and capable of launching. What happened to the aircraft?
What did an old man who sunburned at night see?
The effort of a scene easily completes the structure of the story's tone, which is easy and simple but still unfinished. This is the art of light and shadow, and this is the charm of movies.
Next, the aviation ground crew received an abnormal flight report from the pilot, and the military found a ship in the desert. The superimposition of multiple plots further enhanced the mystery of the film.
The following plot unfolds from three clues.
The first clue comes from a scientific research team composed of scientists and the army.
The second clue is the pursuit of UFO by the male protagonist Roy Nierrey who made the third type of contact.
The third clue is the story of Gillian’s son Barry’s contact with the UFO.
Roy’s city suffered a sudden power outage and was rushed to work overtime by the company. However, he was disturbed by a spacecraft at an intersection. He was frightened but drove away after the UFO like a demon.
Barry was awakened in his sleep, and the electronic equipment at home turned on automatically, but the 3-year-old Barry was not afraid, but went out in a pleasant surprise like being called. Gillian chased her son all the way to a mountain road.
So in more than twenty minutes of the movie, the second clue and the third clue met. Roy almost drove into Barry on the mountain road. This processing can be said to be very fast and efficient.
Then, these three clues were unfolded in an orderly manner. But Roy and Gillian never thought that their lives would be changed by UFO.
Roy is obsessed with restoring the shape of UFOs, from shaving cream to mashed potatoes, and even finally made models in his own home.
The same is true for Gillian, she painted a mountain day after day, and Barry continued to beat her piano into the same melody.
Until they saw the mountain they were dreaming about on TV-Devil's Tower National Monument in Wyoming. The coordinates sent by the aliens to the military are here, and the military is deliberately evacuating the surrounding people in order to better investigate UFOs.
Thus, the three clues began to gather.
Behind the Devil's Tower, a contact with aliens has officially begun, and notes are language.
More UFOs appeared, missing humans were returned, and aliens and alien children appeared in front of people. It was a miraculous exchange.
Spielberg used this method to bring the spectacle of the third type of contact to the audience.
In addition to the close connection of clues, the special effects design of this film is astonishing. In a film 42 years ago, the special effects of UFO and the picture and tone of the film blend very naturally. Even today, it can still kill many domestic movies in seconds. UFO's strong light effects and huge UFO design are shocking, and I can't help but sigh the director's ability to control the big scene.
Of course, the film is also very interesting. At the beginning of the film, the missing pilot on the fighter plane was actually returned at the end of the film. It must be said that the director’s logic is rigorous and brings us an Easter-like ending.
A good movie is worth sharing.
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