What’s for Dinner? Spielberg’s Top 10 Dining table scenes.

The latest in my Spielberg top 10s is a closer look at the times that Spielberg has utilised the most practical of all props, the humble dining table. Sometimes these can be small, intimate scenes such as the mimicry between a father and son at the breakfast table or much grander settings, such as the “feast of beasts” at Pankot Palace. Spielberg uses this familiar setting to bring comedy, revulsion and sometimes just some exposition but the scenes below are all performed beautifully by the cast and are often the more underrated parts of his films. Please let me know if I’ve missed any of your favourites.

10. The make believe feast – Hook (1991)

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Where better for Spielberg to explore the idea of lost innocence and memories of childhood than the Dining table. Hook has often been accused of being too loud, too over the top, I once heard someone inexplicably describe it as too much fun. I think this scene captures the point perfectly. As the Lost Boys sit down for their dinner of what appears to be empty pots and pans, Peter looks on bewildered commenting “eat what? There’s nothing here, even Gandhi ate more than this”. Stuffy adults the World over are in agreement with it’s ridiculousness. There then follows a perfectly played trading of insults between Peter and self-appointed Lost Boy leader Rufio “Substitute Chemistry Teacher” is an insult I still throw out there to this day.

Egged on by the Lost Boys who want nothing more than the cranky, old Peter to rediscover his former glories, Peter starts to get into it, launching a brutal tirade on the stunned Rufio culminating in the poetic “hey Rufio, why don’t you go suck on a dead dogs nose” and flicks his spoon with imaginery icing to land perfectly with a splat on Rufio’s face. Peter was starting to let himself go, to stop himself being so uptight, to enjoy himself. There is the lesson right there.

9. A loving game of copycat – Jaws (1975)

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Where better for Spielberg to showcase the loving bond between father and son, than you guessed it the dining table. In a film dominated with scenes of terror and carnage, this quiet unassuming scene at breakfast showing the bond between father and son is 90 seconds of pure beauty. It is a scene that shows despite the chaos going on in Brody’s professional life that the people that matter most are still there for him.

It’s also poignant during these unusual times that young Sean is oblivious to the challenges that his dad and the adult world that surrounds him are going through. He is not interested in the political point scoring that his dad is having to deal with, he just loves spending time with his dad. It also demonstrates to Martin that when all the frustrations consume him, he need not look any further than his biggest supporters, his family “Give us a kiss”, “Why?” “because I need it”.

Worth noting that Spielberg goes someway to recreate this scene in E.T when Elliot first brings E.T into the house to demonstrate the bond that it already forming between the two.

8. The paranoia scene in Chuck’s cafe – Duel (1972)

The Frights of Mann: Duel's Paranoid Scene at Chuck's Cafe | From ...

Where better for Spielberg to show a man wracked with paranoia clumsily order a sandwich? That’s right, a dining table.

The centrepiece of Duel and possibly it’s stand out scene isn’t on the open road and doesn’t involve a car or a truck (although the latter is glimpsed out the window). Instead taking momentary refuge in Chuck’s roadside cafe, David Mann (that’s M.A.N.N) takes a quick trip to the bathroom to freshen up and returns to see his chief tormentor nonchalantly parked up outside. Mann immediately jumps to the same conclusion as us, namely the driver is in the cafe.

What follows is almost 15 minutes of carefully constructed Hitchcockian suspense as Mann eyes up the several redneck truck driving patrons of the cafe. An intrusive voice over is an unnecessary addition but the tension is palpable, and the numerous red herrings are sumptuously served along with a Swiss Cheese on RYE, ooh and an aspirin.

This is Spielberg at his most showy, a young director trying to demonstrate that he can bring something different to a bog standard thriller, and this scene showcases a lot of the visual bravado that would be shown over the next 5 decades.

7. Scrumdiddlyumptious breakfast with the Queen – The BFG (2016)

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Where else would Spielberg put a giant having breakfast with a Queen? Of course, the dining table (albeit a bloody big one).

Growing up The BFG was my favourite book, as someone who had to be forced to read anything as a kid (reading just wasn’t as exciting as Star Wars), The BFG managed to break through my self imposed barrier and even managed repeat reading. Imagine my delight, therefore, when my favourite director announced he was going to make a film of it. The finished film didn’t quite meet my expectations, a few too many of the grizzly moments were left out for it to be a truly satisfying adaptation however, there was still loads to enjoy, none more so this note perfect, hilarious breakfast scene.

A scene that is packed full of slapstick and toilet humour, it’s possible Spielberg hasn’t had this much juvenile fun since the scene at number 10 in this list. From the chandelier smashing entrance to farting corgis and wind breaking monarchs this classic comedy trope of fish out of water is just an absolute delight, and my word, that breakfast looks good, and thats before the Frobscottle makes an appearance.

6. HAHAHAHAHAHAHAHAHA – A.I (2001)

AI: Artificial Intelligence: Does Not Eat

Where better for Spielberg to showcase just how creepy a married couple’s new robotic child actually is? Oh yes, the dining table.

Opening the scene with David perfectly captured in the halo esq light fitting, the family embark on their evening meal in an atmosphere of awkwardness. David silently observes Henry and Monica eat their food and drink their drink, replicating their actions with his own empty glass and plate, whilst both Henry and Monica look on with a growing sense of unease. The deafening silence is alarmingly shattered as Monica struggles to get all of her noodles into her mouth by a terrifying cackle from David.

For me it is one of Spielberg’s finest jump scares, completely unexpected and out of context with the scene. Monica and Henry’s momentary shock is quickly replaced by nervous laughter as David continues to laugh maniacally. The darkness in this scene is very much in keeping with the mood of the first hour of A.I as Spielberg paints an uneasy utopia and shows humans barely able to understand on how best to cope with their new family member. The fact that David doesn’t understand why he laughs at Monica’s gastronomic short comings adds to the sinister feel. The start of the scene has David bathed in angelic light, by the scenes conclusion we are plunged further into a creepy, nerve jangling thriller.

5. Celie’s triumph – The Color Purple (1985)

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Where better for Spielberg to stage a grand standing moment that puts a true coward in their place? Of course, the dining table.

Everyone loves it when a bully gets their comeuppance, think about George McFly flattening Biff in Back to the Future and tell me there isn’t a little smile forming on your face.

For the first two hours of The Color Purple, Celie (a quite stunning Whoopi Goldberg)is bullied, humiliated and abused by Mister (a monstrously buffoonish Danny Glover). Celie submits to everyone one of Mister’s demands and the people around her accept that is just the way things are. However the introduction into Celie’s life of the electrifying Shug helps Celie realise that perhaps she doesn’t need to lead a life of suffering and hardship. After discovering that Mister has been hiding letters from Celie’s sister Nettie for years, Celie finally finds the courage to confront Mister. This time Celie gives Mister both barrels in front of the whole family to tell him what a weak man he is and how unafraid of him she now is.

“Nettie and my kids be comin’ home soon, and when they get here we gonna’ set around and whip your ass” Nettie says with a quiet determination. It is a genuine punch the air moment, leaving a bewildered Mister speechless. It’s the finest moment in a film that has plenty of glorious moments but can on occasions descend into Sunday afternoon melodrama.

4. Maybe it was an iguana – E.T (1982)

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Where better for Spielberg to demonstrate the after effects of a failed marriage? That’s right….the dining table.

Among all the magic and wonder in E.T there are scenes and story themes of sadness, loss and loneliness.

This scene towards the start of the film perfectly captures the new family dynamic, as departed father now leaves mum and older brother to act as surrogate parents to Elliot and Gertie. From the moment we meet Elliot we feel his isolation, he is on the outside looking in, and like any kid he wants people to respect him, he wants them to listen to him when he has something important to say, instead he just gets teased by his older brother. Older brothers are meant to do that, it’s in their job description.

Here we see Elliot’s frustration grow to the point where he announces that his brother may not have the most fragrant aural scent. The shock of that moment (which Spielberg refused to let the BBC edit out for it’s Christmas Day premiere in 1990) is followed by a pause before Elliot delivers an even greater sucker punch by telling the occupants of the dining table that his absent father would believe him.

From light hearted teasing to awkward atmosphere with one line of spiteful dialogue. Elliot has gone to far but doesn’t appear to care, not even by a clearly upset mother, a fuming big brother and a confused little sister.

It’s a beautifully played scene that is in stark contrast to the loud, dancing, pizza scoffing, game of dungeons and dragons from the previous evening. It perfectly encapsulates the challenges that a family faces as they try to adjust to their change of circumstance, meaning things such as simple disagreements over who’s turn it is to clear the plates off the table gets blown hugely out of proportion.

3. Feast of the beasts – Indiana Jones and the Temple of Doom (1984)

Happyotter: INDIANA JONES AND THE TEMPLE OF DOOM (1984)

Where better for Spielberg to exploit the Gastro fears of the characters and quite frankly the audience, that’s right the dining table.

Perhaps the most controversial entry into this top 10, a scene that hasn’t particularly aged well. On release Temple of Doom was criticised for high levels of violence, now it comes across as film veiled in thinly guarded racial stereotypes. The feast at Pankot Palace is played for laughs as repulsive course is replaced by repulsive course, whilst playing in the background we have Indy grilling the sinister Prime Minister Chatter Lal about the disturbing history of the Palace and its association with the Thugee cult.

What is great about this scene is the impeccable comic timing from Kate Capshaw. In a role often derided as a screechy, annoying damsel in distress, Capshaw realises that she is the comic relief in one of Spielberg’s darker films. Ignoring the glaring plot hole of Indy appearing to being totally oblivious to a giant snake being on the table, which when cut into has 100s of little snakes pour out of it, Capshaw’s reaction is pure slapstick gold. Follow this up with a main course of grilled beetle, a steaming bowl of eyeball soup and of course the crowning glory, for dessert, chilled monkey brains, we are witnessing a Spielberg scene that would never be made today and possibly shouldn’t have been made then but it is tremendous fun.

2. I guess you’ve noticed something a little strange with DadClose Encounters of the Third Kind (1977)

A Close Encounter with the Devils Tower – Deano In America

Where better for Spielberg to portray a suspected mental breakdown than at the family dining table.

After having a Close Encounter with a UFO, Roy Neary starts to have strange visions of a mountain in every day objects. He becomes obsessed with this image, seeing it in every day objects including in the foam that he is about to use in his morning shave. As Roy’s obsession grows, his behaviour becomes odder, resulting in the alienation of himself from his family.

As Roy daydreams he’s handed a bowl of mashed potato to which he casually starts spooning onto his plate. A moment later and Roy sees the shape in the mashed potato and starts to ladel the potato onto the plate, using his fork to shape it into the mountain. Roy only stops when he notices the family are staring. They are not just staring, the eldest son weeps as he watches his dad emotionally fall to pieces in front of their eyes. The rest of the family watch on aghast at these strange events

It’s a tragic moment of realisation for Roy that perhaps everything isn’t quite right, a realisation that his family don’t recognise him anymore and the first real indication that they are no longer Roy’s number one priority.

1. Spared no expense – Jurassic Park (1993)

Jurassic Park – food & a film

Where better to knock an eccentric businessman down a peg or two….that’s right the dining table.

Once the dust has settled on the ooos and ahhs of the first glimpses of the dinosaurs in Jurassic Park, a dose of sober reality is laid out to Billionaire fantasist John Hammond by the very scientists that he had hoped would endorse his magnificent theme park. However, what Hammond encounters is a barrage of criticism from all three, who raise the practical fears of this new Eco system that has been developed in a lab without any caution given to the environmental and ecological ramifications of such a place.

Serving West Chilean seabass that has spared no expense, Malcolm, Sattler and Grant express their gravest concerns with some of the finest and most quotable dialogue in a Spielberg film. Hammond realises he only has the blood sucking lawyer on his side who eyes are wide with dollar signs. The lack of discipline in the attainment of Scientific knowledge is Malcolm’s main concern delivering the classic denouement,

“yeah, yeah, but your scientists were so preoccupied with whether or not they could that they didn’t stop to think if they should”

For an audience who still have their heads spinning from the wonders of the brief glimpse of the dinosaurs, it’s a real bump back down to Earth moment.

About me

My name is Dominic Holder and I like to promote the beauty and wonder of Cinema in my writing. I spend a lot of time promoting the power of Cinema as a tool of wellbeing to anyone and everyone. I love all kinds of films but in particular I am a devoted fan of Steven Spielberg, Tom Hanks, John Williams, Star Wars, Disney and Marvel. My love of Cinema stems from a trip as a 4 year old to local cinema in Bolton to watch a Star Wars/Empire Strikes Back double bill, it was the first in a series of life changing moments, I knew from the moment the Imperial Star Destroyer engulfed the screen at the start of  A New Hope I was hooked. Thankfully nearly 40 years later I still get excited and still find escapism and happiness within this wonderful medium.

You can follow me on Twitter @DomHolder and read some of my reviews on Letterboxd at letterboxd.com/DomH

You can read more of my blogs on Film at www.dominicholder.wordpress.com

The Spielberg Top 10: Best Opening Scenes.

To grab an audience you have to start well, all the great films pull the audience in, you could argue that you need to grab them in the first 5 minutes or people may lose interest. Like writing, if I waffle on too long you won’t read the rest so without further blathering, here is my personal TOP 10 opening scenes in Steven Spielberg directed movies.

10. The Adventures of Tintin: The Secret of the Unicorn (2011)

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Spielberg’s first foray into the world of motion capture is occasionally forgotten when discussions around Spielberg’s most dynamic films arise. Unfairly labelled by some as an animated Indiana Jones film, The Adventures of Tintin packs enough of an individual punch with scenes of audacity bravado as to clearly stand on it’s own two feet. None more so then this cracking opening tracking shot as the camera follows the mischievous Aristidis Silk through an outdoor market. Shot largely from the ground up the camera stops on a street artist painting a portrait of a young man who’s back is to us. On completion the Artist shows his finished article, it’s Tintin as familiarised in Herge’s collection of stories. It’s the first of a number of lovely moments in a vastly underrated film.

9. Close Encounters of the Third Kind (1977)

That Moment in Close Encounters of the Third Kind (1977): First ...

“Are we the first?…Are we the first to arrive?” Yes, I annoyingly shout this whenever I go to a friends or family members house for dinner etc, in my head it never gets old, however some of the invites have dried up over the years.

The opening scene of Close Encounters is packed full of mystery and red herrings (see the headlights come out of the dust) and sets the scene perfectly for the wonders that are to come. Subtle and made with practical effects, it hooks the audience straight into the story. Where did these planes come from? Why does the old man claim the sun came out at night and sang to him? Great stuff.

8. Always (1989)

Opening scene to the Steven Spielberg film, “Always” (1989) - YouTube

A very brief moment here in one of Spielberg’s least appreciated films, but it is a moment of perfectly dexterous showmanship. Two sleepy fisherman whiling the hours away when in the background, entering the shot from above a seaplane making an unexpected landing. The plane disturbs the fishermen from their slumber but it’s breaking system doesn’t seem to be helping much. The camera stays transfixed as the plane stealthily approaches the stricken boat with its panicked occupants and just as the we the audience grip the corners of our seats as the Fishing boat is about to be made into two the plane lifts off, tickling the tops of the heads of the fishermen, who duly make a swift exit into the lake. You can watch the whole wondrous 55 seconds here https://www.youtube.com/watch?v=upPHSDqj5x0

7. Munich (2005)

Munich (Part 1) - YouTube

Changing tone completely now, we have one of Spielberg’s most controversial films, Munich. Starting with opening titles that tell us “the following is based on real events” we are greeted by a group of men trying to scale a fence outside the Munich Olympic village. They are given a helping hand by a group of unwitting American athletes, all the while John Williams, tense heart beat of a score pounds away in the background and Janusz Kaminski’s bleak cinematography creates an atmosphere of incredible unease. We are then thrown into the middle of the terrorism plot as we watch them change clothes, load up their weapons and move to their targets apartments. It is nerve shredding tension that never lets up in the two and half hour running time that is perhaps Spielberg’s best kept secret.

6. Indiana Jones and the Last Crusade (1989)

Fun with Franchises: Indiana Jones and the Last Crusade (1989 ...

Who doesn’t love a good origin story? Who loves them even more when they last no more than 10 minutes? Indiana Jones’s third adventure is just a fantastic film, it really is, it’s packed full of laughs, family bonding and adventure. None more so than this opening salvo that returns Indy to his childhood as a Boy Scout. The casting of Sean Connery is often talked about as a stroke of genius by Messrs. Spielberg and Lucas but do not underestimate the casting of the late River Phoenix as a younger version of Harrison Ford. His screen time may be very short but that introduction of the character, including the origins of his fear of snakes and the famous scar on his chin is beautifully put together.

I could have quite easily included all four Indiana Jones films opening scenes in this top 10 as they all start with a bang in one way or another, but I plumped for Last Crusade (and spoiler alert one other) because it gives Indy a little bit of backstory, and 10 minutes in we are already grinning from ear to ear.

5. Saving Private Ryan (1998)

Saving Private Ryan: 21 facts you didn't know? Mel Gibson was ...

I know what you are thinking, FIFTH???? Well, it’s only so low because strictly speaking it’s not the opening scene, which of course is the old man (who I won’t name in case hasn’t seen it yet) visiting the war cemetery.

Taking 25 days to shoot with over 1000 extras the Omaha Beach landing is the most visceral attack on the senses. With no accompanying score the audience are asked to dodge the bullets and mortars and they come whistling across the soundwaves as we catch glimpses of limbs being blown off, men being incinerated, men being mowed down by relentless machine guns. We want to look away, we want it to be over but we don’t.

Personally the for me, Spielberg’s greatest achievement with this scene is making the audience realise that these were not trained killers, they were ordinary men sent into an extraordinary/hellish world to try to defend their freedom. That first 25 minute is one hell of a History lesson and one that should never be dismissed as just entertainment.

4. Jaws (1975)

Top 10 Movie Opening Sequences | Some Films and Stuff

Dur-dum………Dur-dum……..Dur-dum. Ok if you’ve never seen Jaws, then why are you reading this blog? No only kidding, but if you’ve never seen Jaws you have been stood next to a body of water, where somebody, usually your dad has made the Dur-dum sound, and you know what that means, that your dad is implying there is a man eating shark in that water. It’s universal, it’s know globally, that’s the brilliance of it.

Now on the face of it, who wouldn’t take Chrissie up on her offer for a touch of skinny dipping, fortunately for Tom Cassidy, too many sherbet lemons meant that he missed out on a night time sea based frolic and Bruce therefore had to waltz in the waves with Chrissie alone, albeit a tad aggressively.

A lot of the success of Jaws was down to onset mechanical failures, proving once and for all that the things you can’t see are far scarier than those that you can, and this opening scene continues to terrify to this very day. A real stomper.

3. Bridge of Spies (2015)

Bridge of Spies Film Locations - [otsoNY.com]

I make no secret of my love of Bridge of Spies, I think it is a piece of immaculate film making that demonstrates that classical methods can still be effective. In an almost dialogue free game of cat and mouse the opening 10 minutes of Bridge of Spies, is a lesson in meticulousness and attention to detail that can be sadly lacking in the current age of quick cut superhero dominated cinema.

There is a quiet assurance on display here, a calmness to Mark Rylance that embodies his performance throughout. It’s one of Spielberg’s quieter opening scenes but it’s massively effective, who is the man? Why are they after him? It’s a quite wonderful opening to a wonderful film.

2. Minority Report (2002)

MINORITY REPORT (2002) - The Arrest of Howard Marks - YouTube

How do you explain a rather tricky concept to an audience without overdoing the exposition? Simple, show the entire process from start to finish in one nail biting, ass kicking 12 minute opening salvo. It worth pointing out that as slick as Spielberg is here, this is another Janusz Kaminski masterpiece. The saturated grey and blue tinge adds to the cold atmosphere of a man going through the personal turmoil of watching his life unravel as his adulterous wife is locked in the arms of her suave lover. Meanwhile, Det Anderson (Tom Cruise) pieces together the future crime, almost in balletic fashion as Schubert’s No8 Unfinished Symphony plays dauntingly over the action.

As the time ticks by we know already they are against the clock to prevent the crime, we are totally engaged from the get go. The arrival at the street the Mark’s live on a moment of pure beauty as the pre-crime officers descend on zip-wires onto the lush, green, parkland. The slight delay whilst Anderton confirms that Howard left the door open all add to the palatable tension.

It truly is a most wonderfully choreographed scene, it’s Spielberg at his most playful.

  1. Raiders of the Lost Ark (1981)
Long-lost Indiana Jones Raiders of the Lost Ark footage found on ...

Quite possibly the greatest opening of any film, never mind a Spielberg film. It’s quite difficult to imagine now, but coming off the back of the disappointing 1941, Raiders of the Lost Ark was considered a huge gamble by the studios involved. The Wonderkid had come unstuck with the commercial and critical failure of 1941. In order to start to rebuild his reputation, Spielberg has claimed that he has never been so prepared to make a film as he was for Raiders. Every scene had a storyboard, every minute detail was planned in advance, this film had to come in on budget and on schedule. He achieved both, with scene after scene of perfect action and adventure.

The opening scene has got everything, thrill, spills, gore even humour, note Indy’s face when he grabs the branch to prevent himself from falling into the Abyss, only for the branch to slightly give way, this was no superhero, this is was an ordinary man in an extraordinary situation etc.

If filmed today, this scene would have been edited within an inch of it’s life, imagine if you will Michael Bay shooting this opening scene, but thankfully Spielberg allows the scares and the claustrophobia to prevail, Douglas Slocombe’s cinematography and Norman Reynolds stunning production design instantly transports the audience into this hellish, booby trap ridden cavern.

Then the crowning glory, the rolling boulder, pure genius. The brilliance of Raiders is that as breathtakingly stunning this opening sequence is, it doesn’t peak here and keeps going for the next 100 or so minutes. The opening sequence isn’t even my favourite in the movie, I reserve that for the truck chase, but this is Spielberg at his most prepared, at his most free, at his most playful, he is here to entertain and boy does he ever. What a way to introduce you to one of Cinema’s most iconic heroes.


I dedicate this blog to commemorate the sad loss of Allen Daviau 14/6/42 – 15/4/20 – a true Spielberg legend in every way.

About me

My name is Dominic Holder and I like to promote the beauty and wonder of Cinema in my writing. I spend a lot of time promoting the power of Cinema as a tool of wellbeing to anyone and everyone. I love all kinds of films but in particular I am a devoted fan of Steven Spielberg, Tom Hanks, John Williams, Star Wars, Disney and Marvel. My love of Cinema stems from a trip as a 4 year old to local cinema in Bolton to watch a Star Wars/Empire Strikes Back double bill, it was the first in a series of life changing moments, I knew from the moment the Imperial Star Destroyer engulfed the screen at the start of  A New Hope I was hooked. Thankfully nearly 40 years later I still get excited and still find escapism and happiness within this wonderful medium.

You can follow me on Twitter @DomHolder and read some of my reviews on Letterboxd at letterboxd.com/DomH

You can read more of my blogs on Film at www.dominicholder.wordpress.com

The Maestro

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If I was to ask anyone reading this to sing or hum the first film theme that comes into their head, the chances are that they will perform one written by John Williams. It is quite possible that you do not realise that the tune you croon is by John Williams, it is also not entirely inconceivable that you may claim to have never heard of John Williams. I can guarantee however that if the name isn’t overly familiar then the work definitely will be. He is the foremost film composer in Cinematic history, whose work has transcended Cinemas, to firmly embed itself into popular culture. Nominated 51 times for an Academy Award, winning on 5 occasions, when it comes to scores for films, his is the greatest of all Greatest Hits compilations.

There is not a beach open to the public on Planet Earth that hasn’t had a person, at one time or another, stand looking at the sea/ocean going “Dur-dum” in honour of John Williams famous two-note characterisation of a terrifying ocean dwelling monster. This also applies to all swimming pools and lakes across the globe. Even those who have never seen Jaws instantly get the reference of some guy (it’s always a guy) who considers himself a bit of a character who stands on the edge of a lake going “Dur dum”. A loud, annoying laugh usually follows this as the “bit of a character” convinces himself that in the 43 years since Jaws’s release he is the first person to do this.

Dismissed initially by Spielberg who thought it was a joke, the two note masterpiece would quickly help turn Jaws from a disaster that nearly ended Spielberg’s career to becoming one of the most successful films of all time. A temperamental shark meant that Spielberg had barely enough usable footage to keep the audience on their seats, never mind on the edge of them. Enter Williams’s “Dur dum” and the stuff of seafaring nightmares is changed forever, by showing very little, Williams’s score becomes a member of the supporting cast, and a relationship with Spielberg was firmly established.

Spielberg

I am not going to write for too long on the actual Spielberg films themselves as I have covered them in great detail in my previous Spielberg through the decades blogs, instead, I will focus more on what John Williams scores have brought to those films.  Spielberg’s first feature-length cinematic release in 1974, The Sugarland Express, was a small-scale,  road movie that whilst demonstrating a capable filmmaker only gave slight hints as to the wonders that lay ahead. Williams produced an unassuming, relaxed, harmonica based score, that whilst perfectly complimenting the journey through the scorched, bare Texan landscapes, gave a little indication of the multitude of entries into popular culture that was to come, a bit like the film itself for its youthful director. The simplicity of the Sugarland score would be followed by the instantly recognisable and iconic two-note motif of Jaws and the five-note alien communication employed in Close Encounters of the Third Kind.

This was the start of over 40 years of collaboration that has produced not only some of the most successful films of that time period but some of the most memorable musical scores of any time period. From the  the action-packed, adventure thrill ride of his scores for the Indiana Jones films to the childlike wonder of watching E.T and Elliot cycle past the moon, (Imagine that scene if you will without Williams’s score) to the mournful, desperation of a single violin on Schindlers List or the respectful brass led orchestrations encapsulated in Saving Private Ryan, Williams’s scores not only captured perfectly the time and mood of each piece but added a different dimension to the stories being told that is often, in lesser hands, taken for granted in movies.

It could be argued that Williams’ scores have lifted even some of the more mundane, or less appreciated Spielberg films above the ordinary. Films such as Hook divided audiences but Williams’s score perfectly captured the pantomime feel of the film, whilst throwing in plenty of soaring orchestral moves to add to the magic of what is, in essence, a fairytale aimed at children. The 2000s, in particular, saw Williams demonstrate a variance in styles to suit the feel of the picture, from the jazz-based score for caper Catch Me If You Can, the jaunty clarinet led score for whimsical romcom The Terminal, to perfectly capturing the terrifying claustrophobia  for the dour and brutal War of the Worlds and Munich.

In the last decade, we have been treated to a number of styles that illustrate his mastery of genre score composition.  The Indiana Jones-inspired score to the Adventures of Tintin, the sprawling historical epicness of both War Horse and Lincoln to the playful jollity of The BFG and tension building configuration that accompanies The Post. It is clear that Spielberg and Williams understand each other, as masterful as I consider Spielberg to be, I do believe without John Williams his films would not have had the emotional and cultural impact that they had and will no doubt continue to do so for years to come, and if you don’t believe me, go stand on a beach next to the Ocean and see what tune comes into your head.

My Top 5 Spielberg related Williams pieces

Some of these are known the world over, some are just smaller pieces embedded in certain films that have always had an emotional resonance with me. The Truth is I could have quite easily picked a different 5 or even a different 500 tracks but the below 5 instantly sprung to mind.

5. Father’s Study – Indiana Jones and the Last Crusade

The swirling central oboe piece makes way for the haunting brass section mixed with Eastern Promise in this short but vital scene close to the start of the Last Crusade. This is the scene that first questions Indy’s belief system. He questions Marcus as to whether he believes the Grail to be real, the glance of the Religious iconographic artwork in Henry’s home coupled with Marcus prophetic response about the perils that potentially lie ahead add to the mystique. For me, the score for the Last Crusade is the strongest of the Indiana Jones films, mixing just the correct amount of sentimentality with rip-roaring adventure.

4. New Beginning – Minority Report

This uplifting piece played at the redemptive finale of one of Spielberg’s more melancholic, yet thrilling movies that graced the start of the 21st Century. 90% performed by the string section, Williams dreamy opening builds up to an ending of optimism and hope that was a refreshing face wipe after a dour and dank film

3. The Face of Pan – Hook

In a film that struggles at times under the sheer weight of its sentimentality, slap bang in the middle of all the chaotic raucousness of the Lost Boys teasing the now adult Pan, there is this brief respite, of quiet reflective exploration that is as moving as this film should have been allowed to get “Oh there you are Peter”.

2. Journey to the Island – Jurassic Park

From its perky, effervescent start that buzzes with adventure and excitement, to its familiar reprise of the now famous Jurassic Park main theme, to its playful interior moments that accompany Dr. Grant’s struggle to fasten a seatbelt, Williams is throwing everything at this almost 9-minute opus. Along with the thrills and spills, there is enough lower tone brass to ensure that we don’t get too comfy and that there is a need to approach carefully. It all culminates in one of the most breathtaking shots in Cinematic history, the introduction of the Brachiosaurus to Drs’ Grant, Sattler, and Malcolm. The music perfectly matches the moment of sheer exhilaration that the audience is feeling and the bewilderment experienced by the characters. The track once again continues as the troop of explorers heads back to the visitor centre, and there is a brief reminder from Williams, that no matter how excited we are feeling about seeing these dinosaurs, assisted by a ferocious looking T-Rex skeleton in the Centre, we must as an audience exercise caution.

1. Escape/Chase/Saying Goodbye – E.T

Spielberg recently said, “without John Williams, E.T wouldn’t have been able to fly”. This piece of music is pure childhood. I’ve already talked about exhilaration and adventure in this blog, how can you not when writing about John Williams, but here we have the ultimate musical accessory. Split into 3 parts starting with Elliott and Michael escaping the home with E.T to rendezvous with their friends at the local park. This first segment is filled with peril and tension aided by Michael’s erratic driving and Elliot’s nailbiting tunnel peg removal from the back of the stolen van. As soon as we get on the bikes the second part kicks in with the frenetic strings that elicit pure childhood. The money shot moment kicks in 6:58 as the reprise of the flying theme launches, E.T, Elliot, Michael and their friends across the sunset. The final act of the piece, the emotional goodbye as Elliot and E.T part ways, is never allowed to descend into total mawkishness, but lets be clear here, it is not the intention of either Spielberg or Williams to have any dry eyes in the audience at this point, you cry at this, or else may I suggest you go audition for the role of the Tin Man in the Wizard of OZ as there is clearly a heart needed.

The Star Wars Universe

Away from his work with Steven Spielberg, Williams is perhaps most noted for his work on the Star Wars saga. Recommended to Star Wars creator George Lucas by Spielberg after Williams’ work on Jaws, Williams, and Lucas began yet another one of Hollywood’s great collaborative relationships. I will start by showing the original 1976 trailer for Star Wars to illustrate my point. The trailer conjures an almost unrecognisable atmosphere of the film to the one we know and love. Watching the trailer, you would have no idea that the film would be released in the UK with U certificate, but what is perhaps most intriguing is the lack of John Williams’ imperious classical score. Without the music, Star Wars is marketed as a suspenseful action thriller, almost a horror movie set in space. It is impossible for anyone in my generation to imagine a world before or even without Star Wars but the trailer below demonstrates that without John Williams we are watching a very different film.

Over the 40+ years since Star Wars was unleashed on the popular culture zeitgeist, each installment has been met with either Universal acclaim (Episode 5) to Univeral panning (Episode 2 anyone?) but what has never been in doubt in any Star Wars film has been the scores produced by John Williams. Even Episode 2 has the melodramatic but majestic Across the Stars, which proved that even when dialogue is written and delivered with the poise and guile of a drunk man being tasered whilst carrying a tray of marbles, that form may well be temporary but class is permanent. The music of the Star Wars saga is as much of an importance to our auditory functions as the collection of alien lifeforms or the fantastical worlds are to our visual appeals.

George Lucas created the Star Wars universe but I think John Williams created his own unique world with the variety, dynamism and pure out emotion that accompanies the visuals better than any other film series I can think of.  Fans of the films can listen to the scores from any Star Wars film and instantly be able to pinpoint the part of the film it applies too. Those slightly less devoted can listen to the score and have an entirely different experience as they are taken on a journey through their own imagination that holds no barriers. Here are my 5 favourite pieces from the Star Wars saga, in no particular order.

The Asteroid Field from The Empire Strikes Back

Recently adapted by John Powell for the Score of 2018’s Solo, this piece takes me back to my 4-year-old self who sat in the flea pit, cigarette stained, overflowing toilets and sticky carpet Canon Cinema in Bolton where I was watching a double bill of Star Wars and Empire Strikes Back. I don’t remember a great deal about Empire from that showing but I do remember this bit. Leaving all the damp, festering stench of the numerous discarded packs of Peter Stuyvesant Reds behind I was suddenly transported into the cockpit of the Millenium Falcon as we twisted and turned through the Asteroid Field to escape the pursuing Empire. I remember ducking and yelping in a C3PO style voice as the rocks (and occasional potato) flew past the screen. It was pure cinema, pure exhilaration and was the greatest thing this 4-year-old had ever experienced. Adding to this unbridled joy was John Williams who perfectly captured the excitement of this daring race through the stars. After the first 2 minutes of cat and mouse banter between the brass and woodwind section, with Han furiously searching for his Hydro spanners, we finally get to the precipice of the rollercoaster hill climb to be plunged at 2 mins 18 headfirst into ripping cornets and frantic strings. One of the finest demonstrations of film music dropping you right into the action.

Luke Vs Vader – Return of the Jedi

Due to my family being a bit late to the VHS party and not being regular cinema-goers I had to wait an eternal 5 years to finally get to see Return of the Jedi. On the night my dad brought home our first video recorder he had managed to obtain a copy of Jedi from the local video shop and that was me done for the weekend. Food was not necessary, I ran upstairs got my pyjamas on and waited impatiently for the rest of the selfish oafs to finish their Friday night chippy tea. Eventually, they sat with me and we pressed play and my mind was blown. I had read the storybook version of Jedi having received the St Michaels annual for a previous Christmas (see image below) cover to cover dozens of times but never seen the film. This was the one I had waited for, my whole life had led to this moment. I won’t bore you with the time we were told we were to watch it at school as part of our patron saints feast day only to find that the kid who organised it brought The NeverEnding Story instead, counseling did not help.

Image result for St Michaels Return of the Jedi

So finally Jedi, it was everything I’d wanted and more. None more so than Vader’s redemption which occurs just after the piece above. I don’t think it’s the saga’s greatest lightsaber duel but it is the most important to me and that is partly down to John William’s music, which captures the moment where Luke really does get the upper hand for the first time. The main hero and the main “villain” battling possibly to the death. The original trilogy to me was building up to this moment and it is hauntingly beautiful as a result.

Princess Leia theme – Star Wars a New Hope

It is often taken for granted just how much of an emotional punch John Williams brings to the Star Wars saga with his scores. Similar to the Yoda theme, the Princess Leia theme is instantly recognisable to the character that it accompanies. From the “Help me Obi-Wan, you’re my only hope” hologram of a New Hope, to the heartbreaking reprise 2 mins 40 into the Finale from The Last Jedi, as Williams remembers the late, great Carrie Fisher, we know we are in the presence of nobility, a courageous warrior and indefatigable leader. Princess Leia was in so many ways ahead of her time as a character, a shrieking damsel in distress she most certainly wasn’t. From the moment she meets and basically ridicules both Luke and Han at their lame rescue attempts, we have a hero with more than her fair share of guts and steely determination. Watch how she verbally spars with both Vader and Tarkin and how she ruthlessly dispatches stormtroopers whilst Luke faffs around with his makeshift cord/vine that will enable them to swing to safety and that’s just the first film. Williams score, although gentle and melancholic in places also demonstrates that this is no shrinking violet, this is a Force to be reckoned with.

Rey’s Theme – The Force Awakens

There are people on Planet Earth who like pineapple on pizza, who think Cristiano Ronaldo is a better football player than Lionel Messi, who think Queen never made a decent album after News of the World, and those who think that the latest Star Wars films are childhood destroyers and a slight on all of humanity…………..these people are all wrong. The one thing that they will no doubt all agree on, however, is that the music John Williams has produced for the most recent entries into the Star Wars universe is of an unflappable quality that captures the essence of the original and prequel trilogies. Joking aside, regardless of what your tastes of the visual action on screen maybe (and if you hate Episodes VII and VIII, you are and always will be wrong :)), you would be a deemed a pineapple pizza eating monster if you did not revel in William’s scores. Capturing elements from the original scores and mixing in new themes like a master alchemist. This is perhaps none more so illustrated by Rey’s theme, which starts with a solo clarinet which reflects Rey’s solitude before moving onto percussion with the rising strings as the audience surveys Rey’s barren surroundings whilst hinting at the adventure yet to come. Thematically it recalls Luke being called across by Aunt Beru to check that any translator that Uncle Owen may buy can speak Bocce. Packed with nostalgic nods to a Universe we are so comfortable in, here Williams’ score for Episode VII grants us a time to reminisce, whilst embracing new thrills and terrors that will mean just as much to a new generation as the Imperial March did to mine.

Duel of the Fates – The Phantom Menace

Ah, the Phantom Menace, the most eagerly awaited film of all time and possibly the biggest anti-climax. However, I watched it again recently with my kids, and although far from any kind of classic, it isn’t as bad as some would have you believe. In fact, I would go so far as to say compared to Episode II it’s a veritable masterpiece. As I have mentioned already, whatever the artistic merits of the films, one area that has never been questioned are John Williams’s scores for the prequel trilogy. Duel of the Fates was instantly iconic and has become firmly embedded into pop culture history. The piece also accompanies the standout scene of the prequel trilogy as Jedi’s Obi-Wan and Qui-Gonn battle against the devilish Darth Maul (2nd best thing in the prequel trilogy after Williams’ scores), in a literal fight to the death. It’s easy to forget how perfectly choreographed this sequence actually is, and to coin a cliche, is worth the entrance fee alone. The music is a balletic partner to the ferocious battle on screen and is simply brilliant.

Other film work

Of course, there is more to John Williams than Star Wars and Spielberg films. Oscar-nominated 51 times, starting in 1968 for his score in Mark Robson’s The Valley of the Dolls till Brian Percival’s 2014’s The Book Thief, Williams has notched nominations for his work with 23 different directors including the likes of Oliver Stone, Norman Jewison, and Alan Parker. Before his Star Wars and Spielberg, Williams made an impact in a slew of disaster movies that were all the rage in the early 1970s, providing scores for major ensemble works such as the Poseidon Adventure (1973) and the Towering Inferno (1974), both scores were nominated. Following on from his double hitter of Star Wars and Close Encounters of the Third Kind, Williams hit big again in 1978 with Superman, yet another score to firmly lodge itself into popular culture psyche for decades to come. The love theme from Superman the Movie (below) is near on perfect and once again is an example of perfect mood and moment capture.

Williams would continue to mix serious politically inspired scores most notably for Oliver Stone’s bruising Vietnam nightmare Born on the 4th of July and his conspiracy theory led JFK, both of which were Oscar nominated, with iconic festive fayre like the theme for Home Alone (see below)

Working with director Christopher Columbus, Williams’ score perfectly captured the magic of Christmas and the childhood wonder of that time of year,  and the menace of the films two main miscreants. There is more of that magic incorporated in the Harry Potter scores that he also produced for Christopher Columbus. Once again Williams was able to produce an instantly recognisable score for a new generation of literary, movie and music fans, best encapsulated perhaps by Hedwig’s theme (see below)

Influences

Not only has John Williams had a profound effect on the lives of audiences the world over, but he has also left indelible impressions on some of the finest film composers working today. All brilliant in their unique way the following have all produced scores of the most exacting beauty of raucous bravado that lends more than just a hint of the John Williams Approval Shadow looming above them.

Thomas Newman

It’s quite unfair to suggest that Thomas Newman lives in the shadow of John Williams as he is a composer of such exceptional quality that I could write a blog about the 14 times Oscar nominated musician in his own right. The reason I mention him here is that I feel he is the closest to Williams of any of his contemporaries. Specialising in large scale percussion led pieces, Newman captures that sense of Americana that has become so familiar to Williams fans. When for only the 2nd time in 40 years, Williams was unable to work on a Spielberg cinematic release with 2015s Bridge of Spies, Newman was the natural choice to take up the reigns and in doing so produced my favourite of this decades Spielberg scores. Never is this more prevalent than the 10:51 epic composed for the Glienicke Bridge sequence, where Newman mixes the orchestral swells of Williams with the almost dainty, dreamlike, piano-led mistiness that had served Newman so well in previous classic scores for the likes of Frank Darabont’s Shawshank Redemption and The Green Mile.

A regular in capturing the playfulness whimsy of a Pixar movie and more recently the urgency of a Bond score, Newman is one of those composers that conjures up imagery of warm cup of coffee in front of a log fire on a cold day.

James Horner

The late, great James Horner who’s life was cut tragically short in a plane crash in June 2015, was a master of musical story telling. A regular collaborator with James Cameron, Horner again had the ability to create other worlds through his music to such a degree that it could be argued in some cases the visuals were matched to his music as opposed to the other way round. A fan of including angelic voices alongside perceived native beats, whether that be the tragedy of the ending of Titanic to the illustration of rusticness in Braveheart to the battle-hardened otherworldly experience of Avatar, Horner rose to prominence providing scores to fantasy films of the 1980s for the likes of Willow, Cocoon, and Krull, so the comparisons with Williams were clear to see.

Michael Giacchino

A fellow Pixar regular, Giacchino cut his composer teeth by providing scores for video games in the 1990s before becoming a regular collaborator with J.J Abrams with 2005 Mission Impossible III. He then went onto score the rebooted Star Trek film series in 2008, and the majestic Spielberg inspired Super 8 in 2011. He made his Pixar debut in 2004 with The Incredibles . A now staple of Pixar, Giacchino has also dipped his conductor’s baton into the Marvel Universe with his 1970s nostalgia inspired Dr. Strange score, which if you haven’t listened to then stop what you are doing right now and listen. Giacchino’s John Williams connection saw him enter the Star Wars universe in 2016 when handed the task of composing the score for the first standalone Star Wars movie, the impressive Rogue One. Filling the sizable Williams shoes in a World that only Williams had previously trod was no doubt a daunting experience, but was handled with a deft touch that perfectly encapsulated the mood of a movie that devotees will know the emotional outcome before it even starts. The piece below could have been written by John Williams himself in one of the earlier Star Wars. I think if I’m still able to string coherent sentences together in 40 years time I may decide to write a blog on Michael Giacchino in the same gushing tones that I am currently doing for John Williams

John Powell

Talking of composers who took the leap into the Star Wars universe I give you John Powell. It could be argued that John Powell’s score for 2018’s Solo: A Star Wars story is the most impressive element of the film, which is a back handed compliment if ever I heard one. I actually really enjoyed the film and think it will be thought of more highly when time becomes the most useful judge. However, there is no denying that Powell’s score is near on perfect. Similar to Giacchino, Powell really came to the fore with a series of action-packed scores for animated hits such as Shrek and the massively underrated, both from a film and score point of view, How to Train Your Dragon series. Powell had demonstrated that he could work music into action set pieces, whilst not being afraid to throw in some curve balls to the listening audience. See below for the rip-roaring and nail-biting Marauders Arrive from the Solo soundtrack, which mixes John Williams’ cues with tribal chants and breakneck pace. John Powell, like Michael Giacchino, will hopefully continue to dazzle us over the next decades as they are the closest I have heard to the mass appeal of John Williams.

The future

With John Williams close to becoming a Nonagenarian it is fair to assume that we are currently witnessing the twilight of his career. However, with Episode IX of Star Wars currently being worked on and a fifth Indiana Jones movie slated for early next decade, there is no sign of him wishing to take it easy. I leave you with the most iconic piece of any movie score and a piece that perfectly encapsulates the brilliance of the brilliant John Williams

The Spielberg Awards

Hi folks, following on from my look at Spielberg through the last 5 decades, blogs that can be found on the following links 2010s 2000s 1990s 1980s 1970s I decided to have a light-hearted look at his films and launch the first and no doubt last annual award ceremony, imaginatively titled “The Spielbergs”.

First up was the Spielberg World Cup where I asked the good people of Twitter to vote in the first round, which consisted of 8 groups of 4 with the top 2 progressing to the Quarter finals, for which the top 2 from 4 groups progressed to the semi-finals and the top 2 from each group produced a final 4 for a climactic battle. Each round was randomly drawn by my 7-year-old daughter so there was no danger of letting my own favourites gaining any advantage. Please note as creater of these polls I was not eligible to vote

Group 1 

Close Encounters 46% 
Saving Private Ryan 33%
Catch Me If You Can 17%
Indiana Jones and the Kingdom of the Crystal Skull - 4%
142 votes cast

Catch Me If You Can was an early casualty if drawn in a different group it may well have progressed. The fact it got 17% in such company was a testimony to its appeal. The top 2 were always going to progress here, Crystal Skull was merely making up the numbers.

Group 2

E.T - 72%
Minority Report - 17%
Bridge of Spies - 7%
The Post - 4% 
208 votes cast

A clear favourite going into this one as the result showed. These are 4 exceptional films but I think a lack of familiarity with  Bridge of Spies and The Post saw them score lowly. When the draw was made I thought this would be a tight group……..I was wrong

Group 3 – 

Jaws - 69%
Hook - 13%
Munich - 10%
The Lost World - 8%

162 votes cast
There was only going to be one winner in this group so the intrigue would be who would grab second among three of Spielberg’s more divisive films. Family panto fun triumphed over controversial revenge thriller……but only just.
Group 4
Duel - 36%
The Terminal - 32%
The Color Purple - 23%
Amistad - 9%
174 votes cast
This was a group that allowed some of the more unfancied films to shine and it turned into quite a close contest. With 23% The Color Purple would have progressed in most of the other groups.
Sorry to see Amistad doing so poorly. Very underrated. @TheLoneWolf68
Group 5 – 
Indiana Jones and the Temple of Doom - 54%
War of the Worlds - 22%
The Adventures of Tintin - 19%
Always - 5%
170 votes cast

It was all action and adventure in Group 5. It could be argued that Temple of Doom got a lucky draw here but over 50% of the vote can’t be wrong. Good showing for Tintin here I feel.

Group 6 – 

Jurassic Park - 87%
War Horse - 6%
The BFG - 5%
Sugarland Express - 2%
149 votes cast

The biggest first-round margin of victory was hardly a surprise. A great battle for 2nd place though.

Group 7 – 

Raiders of the Lost Ark - 66%
Indiana Jones and the Last Crusade - 27%
Empire of the Sun - 6%
1941 - 1%
166 votes cast

Tough draw for Empire here, it surely would have done better in a different group. The battle of the Jones’s would be an indicator of how the tournament would progress. Also worth acknowledging the one person who voted for 1941, good for you, whoever you are 🙂

People need to give Empire some love!, it’s one of his best! @smurfman75

Group 8 – 

Schindler's List - 64%
Ready Player One - 18%
Lincoln - 10%
A.I - 8%
148 votes cast

Whereas Schindler’s List’s progression to the quarter-finals was always likely, Ready Player One’s 2nd place ahead of Lincoln was perhaps the surprise of the first round.

QUARTER-FINALS

Group 1 –  

Raiders of the Lost Ark - 53%
E.T - 38%
War of the Worlds - 6%
Ready Player One - 3%
104 votes cast

The top 2 were never really in doubt from the get-go but what might be a surprise to some is how far ahead of E.T Raiders was.

Ready Player One is Spielberg’s worst film!, and he hasn’t had many. @smurfman75

Group 2 –

Jaws - 57%
Schindlers List - 23%
Saving Private Ryan - 18%
Duel - 2%
115 votes cast

This is the dictionary definition of the “Group of Death”. Blame the 7-year-old, not me. Saving Private Ryan is the most high-profile exit of the quarterfinals and surely would have progressed in less prestigious company. Even Duel would have fancied its chances of at least as second place in the next group.

This is why polls are inherently fraught with unintentional bias. You really cannot compare any film with Schindler’s List. @CinemaPhileTX

Group 3

Indiana Jones and the Last Crusade - 67%
Hook - 13%
War Horse - 11%
The Terminal - 9%
97 votes cast

Hook will have annoyed some Spielberg aficionados making it to the semi-finals ahead of films such as Saving Private Ryan, but to coin a famous sporting cliche, you can only beat what is in front of you.

 

Group 4

Jurassic Park - 49%
Close Encounters of the Third Kind - 28%
Indiana Jones and the Temple of Doom - 15%
Minority Report - 8%
123 votes cast

Similar to the first round another strong Jurassic performance, this time in much more esteemed company, Close Encounters in its second tough draw continues to hold its own, whilst Temple of Doom and Minority Report had to settle for making up the numbers here.

Argh! Toughest one. How can anyone choose between temple of doom and close encounters? @patrickdeudon

Close Encounters every time…For me of course – Rob @thebeardedtrio

SEMI-FINALS

At this stage of the competition I had in my mind the 4 films that would progress to the final, regardless of the draw, I was wrong and quite shocked if honest.

Group 1

E.T - 31%
Indiana Jones and the Last Crusade - 30%
Schindler's List - 21%
Close Encounters of the Third Kind - 18%
311 votes cast

You could argue that Indiana Jones has a larger fanbase than Schindler’s List but with over 300 votes cast, you would have thought that Schindler’s, which is widely regarded as one of the greatest pieces of modern cinema would have pulled through. At this stage, though we really are splitting hairs, as all 4 are wondrous pieces of filmmaking

That was tough between close encounters and last crusade but I have to give it to last crusade. By far the best Indy movie and even though I love close encounters… Connery+Ford=gold. @RoadRaider3

How can you separate these…its the Sophies Choice of the movie world @filmbuffbaker

Look forward to the second group. If Jaws, Jurassic Park and Raiders are in the final, there’s no way I can choose. May have to close my eyes and just blind tap. @BoxOfficeBeyond

Group 2

Jaws - 41%
Raiders of the Lost Ark - 29%
Jurassic Park - 25%
Hook - 5%
367 votes cast

The battle of the franchises saw Jurassic Park fall at the last hurdle. Jaw’s margin of victory coupled with a potential split vote for Indiana Jones fans in the final, surely meant that Jaws went into the final as the clear favourite. Hook’s fun ride to the semi’s predictably ended there.

Where did you get the nerve to ask such impossible questions???@OakAyling

Raiders-not only his best, but THE best. In. Tha. World. @BossyToo

THE FINAL

Raiders of the Lost Ark - 35%
Jaws - 32%
E.T - 22%
Indiana Jones and the Last Crusade - 11%
313 votes cast

So the winner is…….Raiders of the Lost Ark. The final four demonstrated what I have always suspected that Spielberg fans have tremendous taste. The split vote didn’t happen and Raiders just pipped Jaws to the grand prize.

Arrrghh!!! This is so hard. Jaws….No! Raiders….No….Yes…No…Arrghhh! Voted for Jaws in the end. It gets my vote, just. Don’t put me through that again. I feel like I’ve cheated on the other three now. – Rob @thebeardedtrio 

My decision for ‘Raiders’ is in part totally subjective (in the mid 1980s, I made a Super8 short film with a couple of friends and was having the time of my life). The other part is the brilliant cast & perfect Spielberg mix made of adventure, action, suspense, awe and humor. @SpielbergChron

Image result for Raiders of  the Lost Ark

Following on from the World Cup which crowned everyone’s favourite Archaeology teacher’s first screen adventure as the Greatest Spielberg Film, I decided to run a few more polls to answer the questions about Spielberg films that quite frankly nobody had ever contemplated or felt the need to ask.

Twitter limits every poll to 4 options, which means that I had to leave some strong contenders out of some of the categories, some of them even caused me to have sleepless nights as names popped into my head that I hadn’t even considered. This was never more apparent than in this first category

Best supporting actor in a Spielberg film

Image result for Robert Shaw Jaws Robert Shaw Jaws 58%

Related image Sean Connery Indiana Jones and the Last Crusade 19%

Image result for christopher walken catch me if you can Christopher Walken Catch Me If You Can 17%

Image result for tommy lee jones lincoln Tommy Lee Jones Lincoln 6%

Robert Shaw’s cantankerous old sea dog has always been a Spielberg favourite. On reflection, the four men above would have been all worthy winners, but just take a look at some of the outstanding men I left out/forgot about before the poll was launched. Mark Rylance in Bridge of Spies, Anthony Hopkins Amistad, Robert MacNaughton E.T, Jeff Goldblum Jurassic Park, and perhaps the most glaring oversight Ralph Fiennes in Schindlers List.

This could be close.. and in this short of race, there’s no shilver medal for finishing shecond..!@_ThatFilmGeek_

Best supporting actress in a Spielberg film

 

Image result for drew barrymore e.t Drew Barrymore E.T 41%

Image result for teri garr close encounters third kind Teri Garr Close Encounters of the Third Kind 25%

Image result for samantha morton minority report Samantha Morton Minority Report 19%

Image result for margaret avery color purple Margaret Avery The Color Purple 15%

In E.T Drew Barrymore gives the impression that she doesn’t even realise she is in a film. The story is happening around her the childlike wonder she displays is reflected in the emotion that the audience goes through. Teri Garr is possibly the standout performance in Close Encounters as the doubting Thomas figure who is presumably left to explain all of this to the three children. Its great to see both Samantha Morton and Margaret Avery score reasonable percentages in two breathtaking performances.

Not the four performances I would’ve chosen to represent this category, I don’t think. But from this group I guess it’s got to be Garr. Drew comes close, though. Great performance at that age. @853_OKG

Whilst we are looking at acting performances, let’s see what you voted as best lead performances

Best Performance by a Leading Actress

Image result for whoopi goldberg color purple Whoopi Goldberg The Color Purple 48%

Related image Meryl Streep The Post 24%

Image result for goldie hawn sugarland express Goldie Hawn The Sugarland Express 14%

Image result for holly hunter always Holly Hunter Always 14%

All 4 of these women would have been a worthy winner here but what a delightful surprise to see Whoopi Goldberg’s astonishing debut get the lion’s share of the vote in this category. As for the “overrated” Meryl, she can do no wrong in my eyes, Goldie Hawn “Aw shucks” her way through Sugarland Express and Holly Hunter is beyond adorable and by quite some distance the best thing about Always.

Best Performance by a Leading Actor

Image result for daniel day lewis lincoln Daniel Day-Lewis Lincoln 52%

Image result for richard dreyfuss close encounters Richard Dreyfuss Close Encounters of the Third Kind 36%

Image result for tom hanks saving private ryan Tom Hanks Saving Private Ryan 12%

Image result for eric bana munich Eric Bana Munich 0% 😦

When putting these polls together I anticipated that Day-Lewis would win regardless of who I put him up against and I was proved correct with his powerhouse performance as America’s 16th president. Dreyfuss treads the line between excitable and maniacal in Close Encounters, whereas Hanks probably gives the most human performance out of the nominees. Spare a thought for Eric Bana who didn’t receive a single vote which is massively unfair as he is the very heart and soul of Munich, one Spielberg film that requires further reflection. Also just outside the top 4 were the likes of Liam Neeson in Schindler’s List, Tom Cruise in War of the Worlds, Hanks for The Terminal and even Henry Thomas for E.T, but more about him next.

Best performance by a child in a Spielberg film

Image result for henry thomas et Henry Thomas E.T 51%

Image result for christian bale empire of the sun Christian Bale Empire of the Sun 38%

Image result for dakota fanning war of the worlds Dakota Fanning War of the Worlds 8%

Image result for ruby barnhill the bfg Ruby Barnhill The BFG 3%

The best child performance in a Spielberg film is Haley Joel Osment (A.I.), but out of the four you chose to highlight, I’d go with Henry Thomas.  

Out of all the categories I ran, I had more comments over who I had left out than any other category. The opinion from @ViverdeCinema was just many who claimed the Haley Joel Osment should have been on this list. I could have also quite easily had had Drew Barrymore and Robert MacNaughton from E.T, Jonathan Ke Quan from Temple of Doom, Ariana Richards and Joseph Mazzello from Jurassic Park, or how about Carey Guffey who played Barry in Close Encounters. Spielberg’s ability to bring out very believable performances from youngsters is all too apparent. Out of the 4 I did go for, Henry Thomas is the standout. His performance, in my opinion, is right up there with the very best from any actor in a Spielberg film.

Ok, lets now take a look at the bad guys.

Best non-human villain

Image result for shark from jaws “Bruce” the Shark from Jaws 39%

Image result for t-rex from jurassic park T-Rex from Jurassic Park 23%

Image result for velociraptor from jurassic park Velociraptor from Jurassic Park 19%

Image result for truck from duel The Truck from Duel 19%

One of the more closely fought contests, with “Bruce” proving once and for all that things that don’t work quite as they should are actually terrifying. The iconic T-Rex turns in some ways, from monster to hero by the end of Jurassic Park but she wouldn’t thank you for saying that. The sinister Raptors probably scored less than the T-Rex because nobody likes clever clogs. As for the truck, well it can rest in the knowledge that without it there probably wouldn’t have been any of the others and I probably wouldn’t be writing this blog (stop cheering at the back).

Most despicable Human villain

Image result for amon goeth schindler Amon Goeth Schindler’s List 88%

Image result for captain hook hook Captain Hook Hook 6%

Image result for sorrento ready player one Sorrento Ready Player One 3%

Image result for mola ram Mola Ram Indiana Jones and the Temple of Doom 3%

The biggest “winner” in any category voted on, as its widely regarded as one of the biggest bastards in history was realistically portrayed in Schindler’s List. Fiennes depiction of pure evil was so accurate that when survivor Mila Pfefferberg was introduced to Ralph Fiennes on the set, she began shaking uncontrollably, as he reminded her too much of the real Amon Goeth.

as is terrible, he has no redeeming qualities at all! He’s pure evil, and unfortunately ‘s depiction is historically accurate… 

After that bunch of evildoers, I wanted to take a more light-hearted look at some of Spielberg’s characters.

Most slappable character in a Spielberg film

Image result for ray winstone crystal skull Mac Indiana Jones and the Kingdom of the Crystal Skull 56%

Image result for willie scott temple of doom Willie Scott Indiana Jones and the Temple of Doom 32%

Image result for clovis sugarland express Clovis The Sugarland Express 8%

Image result for hollis p wood 1941 Hollis P Wood 1941 4%

Ok firstly in the case of 2 of these I am not criticising the performance, as I think Kate Capshaw is fantastic in Temple of Doom, also William Atherton in Sugarland gives an early precursor to future whiny slimeballs that we see in Ghostbusters and Die Hard, just that their characters are so frustrating as in need of a good wedgie. Ray Winstone plays the same character in EVERYTHING and the last thing Indiana Jones is a cockney gangster who one-half suspects is going to break the fourth wall and give me the latest odds on whether Indy is likely to get out of his next tight spot. As for Slim Pickens in 1941, well to say he is the loudest and most annoying person in 1941 pretty much says it all about what I think of him in that film.

Hollis P Wood? Slim Pickens? Slappable? NO! He’s one of my favorite characters in 1941.

If we want to slap the four above which of the following females makes us want to punch the air with their stunning exploits

Most kickass female character in a Spielberg film

Image result for marion raiders of the lost ark Marion Raiders of the Lost Ark 60%

Image result for dr sattler jurassic park Dr. Sattler Jurassic Park 20%

Image result for artemis ready player one Art3mis Ready Player One 10%

Image result for sarah harding jurassic Sarah Harding The Lost World 4%

Marion from Raiders has long been a fans favourite but I am still surprised how large her winning margin was against Ellie Sattler from Jurassic Park who for my money is the ultimate Spielberg action hero, smart, witty with an edge of vulnerability that prevents her from requiring a cape.

No contest. Marion. Hands down. @kkcorby14

I’m now going to take a look at the moments that make Spielberg, well, Spielberg, starting with scenes that shook us to our core.

Most harrowing scene in a Spielberg film

Image result for liquidation of ghetto schindler's list Liquidation of Ghetto Schindler’s List 48%

Image result for omaha beach saving private ryan Omaha Beach Saving Private Ryan 39%

Image result for monica abandons david a.i Monica abandons David A.I 13%

Image result for amistad boat scene thrown overboard Below the deck Amistad 0%

A close run thing here between the two World War Two epics. The thing with all four of the scenes listed above, the viewer wishes to turn away from the screen but we can’t. On Omaha Beach we feel that we are in amongst the battle, ducking to avoid the bullets and shrapnel heading our way. The liquidation of the Ghetto is a different type of desperation, we want to help, we want to know why the cameraman isn’t stopping to help, can’t they see what is happening, why are they filming this? Monica abandoning David perhaps hits home more to parents, especially those who have dropped a screaming child off at nursery, but in this film, there is no glass of milk and a Spot the Dog story to pacify David, and we know Monica is not coming back 4 hours later to collect. As for Amistad receiving 0%, well it’s possibly the most brutal scene of the lot but the least relatable hence the zero votes.

So the flip side to the most harrowing, what is the most wondrous scene.

Most Wondrous Scene in a Spielberg film

Image result for mothership lands close encounters Mothership lands Close Encounters 34%

Image result for raiders of the lost ark opening scene Opening scene Raiders of the Lost Ark 31%

Image result for t rex attack jurassic park T-Rex attack Jurassic Park 20%

Image result for dolly zoom scene jaws Alex Kittner beach scene Jaws 15%

So with this one, I was looking for the scene that best epitomizes Spielberg and his films and as you can see it was a very close contest. For me, the last 30 minutes of Close Encounters is the finest piece of Cinema ever put together, whereas the opening of Raiders is possibly the finest opening to any film. The T-Rex attack has Spielberg at his most terrifying and the Alex Kittner scene in Jaws is the dictionary definition of the slow build, littered with red herrings and exquisite camera work.

It’s the Kitner scene, the way he draws u in to different characters who u believe will be the sharks next victim is brilliant!. The zoom in shot on Brody, splashing of water, and the final death of Alex who so happened to be wearing red which stood out but no one noticed @smurfman75

If those scenes were breathtaking, I wanted to know if there was one particular image that stood out as the most iconic in a Spielberg film.

Most iconic image in a Spielberg film

Image result for e.t fly past moon E.T and Elliot fly past the moon E.T 75%

Image result for The Aliens arrive Close encounter The orange doorway Close Encounters of the Third Kind 10%

Image result for red coat schindler's list The girl in the red coat Schindler’s List 8%

Image result for jurassic park glasses of water The glasses of water Jurassic Park 7%

All four images are instantly recognisable and emotive for very different reasons. Nothing captures that feeling of childlike wonder and amazement, however, than E.T and Elliot flying past the moon, it’s debatable whether there is a more iconic image in the history of cinema.

I’m now going to take a look at some of the very familiar faces who have appeared in Spielberg films who have either gone on to bigger and better things or already had achieved monumental things before appearing in a Spielberg film.

Best before they were famous performance in a Spielberg film

Image result for oprah winfrey color purple Oprah Winfrey The Color Purple 54%

Related image Samuel L Jackson Jurassic Park 33%

Image result for benedict cumberbatch war horse Benedict Cumberbatch War Horse 11%

Image result for ben stiller empire of the sun Ben Stiller Empire of the Sun 2%

Samuel L Jackson was a successful actor before Jurassic Park having starred in Menace to Society, Coming to America and Goodfellas but this pre- Pulp Fiction starrer as the chain-smoking technician Arnold was the first time he really put a stamp on a film. It’s sometimes easy to forget how good a performance Oprah gives in the Color Purple. Here the majority of you seem to agree.

I love Cumberbatch in that film but I gotta go with Oprah. @kkcorby14

Best after they were famous performance in a Spielberg film

Image result for richard attenborough jurassic park Richard Attenborough Jurassic Park 51%

Related image Francois Truffaut Close Encounters 32%

Image result for audrey hepburn always Audrey Hepburn Always 15%

Image result for michael lonsdale munich Michael Lonsdale Munich 2%

Big winner here for Richard Attenborough who played the often misinterpreted genius, John Hammond. Spielberg spoke about his nervousness of working with one of his heroes in Truffaut in Close Encounters but Truffaut is the audiences representative in this film with his sense of wide-eyed wonder and excitement. The stunt casting of Audrey Hepburn pays off with a charming little cameo in Always and ex-Bond villain Michael Lonsdale add a certain gravitas to Munich

Can’t measure with existing technology how fabulous Truffaut was for CE3K. His demeanor, his sense of wonder … so essential! ~P @Sibling_Cinema

Next up I want to take a look at his possibly misunderstood or lesser known films

Most derided Spielberg film which is actually pretty good and deserves a second chance.

Related image A.I Artificial Intelligence 40%

Image result for hook poster Hook 34%

Image result for indiana jones and the kingdom of the crystal skull movie poster Indiana Jones and the Kingdom of the Crystal Skull 15%

Image result for 1941 movie poster 1941 11%

There was actually quite a lot of love shown to each of these films, they all obviously have fans, but they do also have a number of critics. There is no doubt in my mind that A.I is a stunning piece of work and should be respected by a much wider audience. Hook is a lot of fun and is great family entertainment, Crystal Skull is seen by many as the biggest disappointment in Spielberg’s career but that could be down to expectation more than anything else. As for 1941, well 11% are willing to stick up for it………good for you 🙂

if anyone says AI is bad, they have zero knowledge of filmmaking. AI is immortal! @CinemaPhileTX

Hook, A.I. Crystal Skull all could easily be deserving of this vote. But A.I. is a truly incredible movie that is criminally underrated. It gets my vote. @853_OKG

Best Spielberg film that nobody has seen but really should

Image result for always movie poster Always 30%

Image result for The Terminal movie poster The Terminal 26%

Image result for Amistad movie poster Amistad 25%

Image result for Sugarland Express movie poster The Sugarland Express 19%

Another close run contest this one. I am very fond of all of these movies and they should all be seen by a wider audience as each one tells a very different story of Spielberg’s career at the particular point of which they were made. In my opinion, The Terminal, in particular, is a charming film that was a rare lighter effort from Spielberg in a post Millenium decade where he was at his darkest

I voted Always. Saw it years ago when it first came out but had forgotten much about it. Rewatched on the recommendation of a friend and it was lovely and heartwarming. Holly Hunter was terrific. @kkcorby14

All are great films but Amistad is also important. A message that resounds especially today. @aillsley3

I’m now going to take a look at the sounds that we remember from Spielberg films by giving out awards for the best one-liner and the best music score

Best One-Liner

Image result for you're gonna need a bigger boat “You’re gonna need a bigger boat” Jaws 62%

Image result for life finds a way jurassic park quote “Life uh finds a way” Jurassic Park 23%

Image result for She talks in her sleep Indiana Jones quote “She talks in her sleep” IJ and the Last Crusade 15%

Image result for would it help bridge of spies “Would it help?” Bridge of Spies 0%

The often misquoted “You’re gonna need a bigger boat” was always going to win this one and to be fair why the hell not, it’s almost as iconic as the film itself. Ian Malcolm’s realisation in Jurassic Park is the culmination of one of the finest scripted scenes in a Spielberg film. Connery’s piece of perfect improvisation is possibly my favourite line ever and as for the 0% Bridge of Spies quote, well hopefully longevity will see this line immortalised in time to come.

Best Score

Image result for jaws theme sheet music Jaws main theme 37%

Image result for welcome to jurassic park sheet music Welcome to Jurassic Park 29%

Image result for the raiders march sheet music The Raiders March 24%

Image result for e.t flying theme sheet music E.T Flying theme 10%

I have to be honest I would be lost without the music of John Williams in my life. I listen to it daily, it has got me through some tough times, I feel it is a privilege that I am able to hear such wondrous music. It truly is a part of the cinematic experience. I want all readers to imagine for a moment what Elliot and E.T flying past the moon would be like without the music. Williams’s music has almost at times become a character in some of the movies, never more so than when his two-note motif in Jaws still to this day can send a shiver up the spine of all potential ocean paddlers, more than a malfunctioning rubber shark could ever want to.

I’d say Jaws. For me personally, I was familiar with the idea of a dorsal fin above the water accompanied by “daa dum” long before I had seen Jaws and even before I knew who John Williams was! I’d know a lot of other people who’d say the same thing. @JWilliams_Fan

Personally, Jurassic Park’s main theme gives the chills everytime. Raiders theme means pure adventure, but Jaws is the most iconic simply due to how pervasive it has been. People that haven’t even seen Jaws know it. It’s been used in endless parodies etc. @BoxOfficeBeyond

My final category involves a group of people who most people who have read this far will know the name but maybe not the face.

Spielberg’s unsung hero

Image result for michael kahn editor Michael Kahn Editor 39%

Image result for kathleen kennedy Kathleen Kennedy Producer 22%

Image result for janusz kaminski Janusz Kaminski Cinematography 22%

Image result for kate capshaw Kate Capshaw Wife 17%

All 4 of the above have played an integral part in the career of Steven Spielberg. He would possibly be half the filmmaker without one or more of them offering guidance and support. I salute them all.

Kahn is the man. Being an editor it is a very hard job to make the edit invisible. That is the brilliance of a film editor. Michael Kahn has done that for decades with Spielberg. @theburbsman

A tough one, but I have to go with Michael Kahn. The work of editors is often discussed/critiqued in reviews, but the editors themselves often go unmentioned. In a way, they’re like sculptors. What they do is nothing short of amazing and Kahn certainly has his mark on that. @GoNerdYourself

So there we go that is it for my Spielberg blogs, for now at least. I hope you have all enjoyed reading them. I have certainly enjoyed writing them, especially the research side of it.

As with all good award ceremonies and quite frankly some bad ones, I have some thank yous. I want to thank in particular the following people who have retweeted and promoted my blogs over the past year, and have also on occasion helped me with certain detail. They are Paul Bullock @apaulbullock, The guys at the Bearded Trio @thebeardedtrio  , the Spielberg Chronicles @SpielbergChron and all the following who have contributed in some way. 

If you like to follow people on Twitter who have intelligent, humourous and occasionally excitable conversations about film, you could do a lot worse than to give the following fine people a follow Darren Murphy @smurfman75  , KK @kkcorby14  , Marc Uren @uren_marc , That Film Geek @_ThatFilmGeek_ , EasyRidingRagingPodcast @ERRPodcast  , The CinemaPhile @CinemaPhileTX, Music By John Williams @JWilliams_Fan, Stephen Haller @theburbsman, Jim Rockford @853_OKG, Go Nerd Yourself @GoNerdYourself, A Film Club @afilmclub Amblin Road @AmblinRoad.

Thanks mainly go to anyone who has taken the time to have a read of these blogs, you’re all excellent people, and also thank you to Mr Spielberg for continuing to produce pieces of cinema that just put a smile upon my face. Here’s to many more over the coming years.

 

Spielberg the 2000s

Artificial Intelligence: AI (2001) Minority Report (2002) Catch Me If You Can (2002) Tom Hanks in The Terminal (2004) War of the Worlds (2005) Munich (2005) Indiana Jones and the Kingdom of the Crystal Skull (2008)

Welcome to Part 4 of my look at Spielberg through the decades. Following on from my previous blogs of Spielberg through the 1970s the 1980s and the 1990s we now enter what could be Spielberg’s most misunderstood decade. I personally see it as his most creative, showcasing brave ideas and taking risks that now the critical acclaim matched the audience love, he was willing to take. The one thing to say about the naughties as I refer to them is that the fluffiness has definitely gone, to paraphrase the opening crawl of the Empire Strikes Back, these are indeed dark times. The line up of posters at the top of the blog with the two obvious exceptions are a paradigm of murkiness. There are some issues, Spielberg doesn’t fully remove the crowd pleasing shackles, he can’t resist a couple of “see it’s all ok in the end” type endings, one in particular is very punchable but overall the impression I get is that finally Spielberg feels he has the freedom to make the films that he wants to make. This is certainly the case with the first of his 2st Century films.

A.I Artificial Intelligence (2001)

“Why do you wanna leave me? Why do you wanna leave me? I’m sorry I’m not real. If you let me, I’ll be so real for you.”

Artificial Intelligence: AI (2001) Haley Joel Osment in Artificial Intelligence: AI (2001)

There are some who claim that Spielberg has not made a truly great film since Saving Private Ryan in 1998. However from 2000 onwards we have a collection of films that, whilst maybe not as commercially accessible or appealing as what has gone before, reward those willing to be challenged and open to new directions from Spielberg. This is no more apparent than A.I Artificial Intelligence, a film that requires patience and repeat viewings before a true and fair opinion can be formed.

The origins of the film date back to the 1970s when Stanley Kubrick bought the rights and attempted to adapt the short story “Supertoys last all Summer Long” written by Brian Aldiss in 1969. Concerned that the main role was too much emotionally for a young child to play, Kubrick delayed the production until he felt the technology was available to create the character of David digitally. As the decades went by Kubrick passed over the project to Spielberg as he thought it matched more of his sensibilities, but Spielberg worked with the majority of Kubrick’s ideas to form the film. Kubrick, who died in 1999 never saw the finished piece.

A.I is the story of David a Mecha that resembles a human child who is sent to Henry and Monica Swinton as a “replacement” for their son Martin who is suffering from an incurable disease and is currently being held in isolation. Monica, played by Frances O’Connor, is wary of David at first but slowly begins to grow towards him until she activates his imprinting protocol which means David now recognises her as his mother and will provide a child like love to her. All is going well until Martin, now out of suspended isolation, returns home and develops a sibling rivalry with David which culminates in David almost drowning Martin in an act of self-defence. Henry asks that Monica takes David back to his creator where he will be destroyed. However Monica abandons David in a forest in a hope that he will be able to defend for himself. David then embarks on a 2000 year quest to be reunited with his “mother” seeking out the fabled Blue Fairy who he believes will turn him into a real life boy.

I mentioned at the top of this segment that A.I requires patience. I remember being left dumbfounded on first viewing at the cinema, confused about what I had just witnessed, its ultimately a matriarchal love story, but it can also be an allegory for social distrust and prejudice, witness the gladiatorial baiting audience at the flesh fair or David’s treatment at the hands of Martin and his friends. David is looking for love but the larger picture here is the acceptance of the Mecha community as equals, which of course is a well trodden Cinematic story arc. Here’s the thing, A.I makes no secret of its influences and it takes repeat viewings to fully embrace this. The most obvious is Pinocchio, a film that Spielberg has referenced on occasions before most notably in Close Encounters, but there are clear nods to Blade Runner, and even touches of Cronenberg particularly in the aforementioned Flesh Fair.

However the biggest influence is clearly Kubrick. The opening hour, whilst not quite horror, has a spooky, eerie feel to it. The introduction of David is an unnerving experience not just for Monica but the audience as well. Played with eye-piercing perfection by Hayley Joel Osment, the young robot boy appears with an unblinking porcelain stare, he follows Monica around the apartment, appearing silently, always watching, he is more a robotic stalker than a loving child. Spielberg’s chooses to initially leave David ambiguous, he is often shot with angelic shapes around him. At the dinner table he is shot from above through the circular light fitting. The calming, blue and whites of Davids eyes and clothing give him an ethereal, robotic but angelic presence. His appearance states there is nothing to fear here, his actions and mannerisms suggest otherwise. The character of Monica follows the time honoured tradition of struggling parentage, this time the mother is the parent that the main protagonists desperately wants to engage and be with, when this isn’t possible David, similar to Jim in Empire of the Sun, settles for two surrogate fathers to guide him. Firstly we have an animatronic teddy bear, a childs toy (voiced brilliantly by Jack Angel) who scowls at the initial suggestion that he is a toy who like Jiminy Cricket in the much referenced Pinochhio is David’s conscious, exercising caution at every turn. Whereas Jude Law’s robotic Gigolo Joe is more interested in opening David’s eyes to the world, Empires Basie to Teddy’s Dr Rawlings if you will.

Haley Joel Osment in Artificial Intelligence: AI (2001)

I don’t think Spielberg has ever made a more beautiful film, every frame glistens. Dismissed on its release, it was classed as an oddity in Spielberg’s filmography as audiences found the over emotional David too sentimental a character to fully invest time in, but this is a dark film. The first hour is a psychological, uncomfortable, in an intriguing way, watch, but the final half hour is second only to Close Encounters for sheer spectacle when viewed again. This is Spielberg’s second chance film, from its taut thriller opening act to the visually stunning 2nd I implore all readers who had previously dismissed A.I as sentimental hogwash to revisit and take in every inch of the screen.

Why should you watch it?

Because more than any other Spielberg film, A.I rewards repeat viewings. If you have only seen A.I once and found it difficult and cold, watch again, take it all in, there has never been so much beauty in a Spielberg film. This could be his most misunderstood masterpiece.

Minority Report (2002)

“You don’t have to chase me.”

Minority Report (2002)  Tom Cruise and Samantha Morton in Minority Report (2002)

You could argue that with the exception of casting Harrison Ford in Raiders of the Lost Ark, Spielberg up until this point has never gone for the most obvious marquee name to star in his film, Spielberg himself was always the main draw. Even Saving Private Ryan was sold more on the subject matter in hand as opposed to the fact that Tom Hanks took the lead role. Dreyfuss was a big star in the days of Close Encounters but not really the same box office draw as the likes of Burt Reynolds, Gene Hackman and Jack Nicholson all who were considered for Neary. This was to change with Minority Report a film set in 2054 where pre-crime cognitives work alongside the Washington D.C. Police force to prevent murders before they happen. The twist here is that the Chief of Pre-crime himself John Anderton is accused of murder of a man that he has never met, forcing Anderton to go on the run.

Cast as Anderton, Spielberg worked for the first time with bona-fide Hollywood superstar Tom Cruise. The pair had been friends for some time and had waited for the right project to collaborate. The fast action, science fiction setting ticked both of their wish lists, the character back story of Anderton would also give Cruise the opportunity to stretch his often underrated emotional range as he deals with the impact of  being a grieving parent, the first of many similarities between Minority Report and the previous A.I. A facial disfigurement half way through the film would also prove that this was no vanity project for the often gleaming grin wearing Cruise.

Opening with a terrific prologue that fully demonstrates Pre-Crime in all its finery, the films tone is set by the prevention of Howard Marks murdering his adulterous wife and her lover. This scene sets the pace for the entire film, there is very little standing around, it really is the quintessential chase movie. The colours of the film follow on from the more desperate parts of A.I with lots of blues and silvers dominating the landscape of a city where it appears to be almost always raining. This is a grim look at a not too distant future.

Since Schindler’s List Janusz Kaminski has been Spielberg’s go to cinematographer, the opening three Spielbergs films of the 21st Century show a Director and Cinematographer in perfect sync with each other. After the glistening beauty of A.I, we have a damp, grubby world, perfectly summed up by the interior of the apartment of the black market doctor who performs an illegal eye transplant on Anderton to help him escape detection whilst moving through the city.

The warmness is only really achieved at the films conclusion, a conclusion that left some audiences frustrated, by its neatness and optimism, something that is glaringly absent in the preceding 2 hours.

The film itself balances film noir with modern day thriller, it raises questions about free will versus determinism, if an individual is aware of their own future, can they change it or is it set in stone. Does governmental interference, in this case to prevent murder, actually lead to a more harmonious society? The evidence on display in Minority Report is no. People still have extra marital affairs, people are still dependent on illegal substances, Anderton scores drugs to help deal with the loss of his son. The general public still rush around barely noticing each other whilst being bombarded with adverts in a perpetual world of unstoppable traffic that now slides down the side of buildings as there is no further road space available. This is a grim vision of a possible future world.

Cruise is excellent as Chief Anderton and he is ably supported by a slimy “is he good or is he bad” turn from Colin Farrell. The shining light for me though is Samantha Morton as Pre-Cog Agatha, who displays vulnerability and strength in equal measure.

The film has some stunning set pieces, the aforementioned prevention of Marks murdering his wife is one, the scene where Anderton confronts his own future is Spielberg demonstrating that he doesn’t need a T-Rex or Shark to get the edge of the audience’s seat get ever nearer to their bottoms. The crowning moment however is a single take shot just over a minute long where the camera follows the robotic Spyders as they go from apartment to apartment to carry out retinal identification on the residents. The camera offers a birds eye view of the crumbling, filthy apartment block, bobbing between apartments, it is a masterful moment in what is a brilliant yet astonishingly downbeat film. The 2000s had started with two films that had less than a sanguine view of the future packed full of edginess and tension. It was time to head back into the near past to lighten the mood.

Why should you watch it?

You should watch it because it is fantastic. Spielberg demonstrates all his artistic flair whilst never compromising on thrills and spills. The ending may seem a little bit of a cop-out but overall this is top end action sci-fi

Catch Me If You Can (2002)

“Dear Dad, you always told me that an honest man has nothing to fear, so I’m trying my best not to be afraid”

Catch Me If You Can (2002)  Leonardo DiCaprio, Lidia Sabljic, Karrie MacLaine, and Hilary Rose Zalman in Catch Me If You Can (2002)

The opening three films of the 21st Century for Spielberg have a multitude of cross over themes which have led some Spielberg devotees to unofficially dub the three as the “chase/on the run/running man” trilogy. In A.I mecha David, abandoned by his “mother” goes on the run to find her again, in Minority Report Chief John Anderton is on the run to prove his innocence from a crime he is yet to commit, and finally we have the third part, Catch Me If You Can, the story of a 19 year old fraudster being chased across continents by the FBI. Catch Me If You Can is a classic caper based on a true story and is easily the lightest in tone and possibly the most accessible to a wider audience of this unofficial trilogy.

Based on the true story of Frank Abagnale Jnr, who over a 5 year period executed a number of elaborate cons including impersonating a Pan-AM pilot, a French teacher and a doctor. However he became most adept at check fraud, in fact he became so good at it that the FBI hired him after his prison sentence to help ensnare and capture other forgers. Leonardo DiCaprio at the start of his impressive post-Titanic career plays Frank with a youthful exuberance that demonstrates that he was more than just a poster boy for thousands of youngsters world wide after his tragic turn in Titanic. There are hints here of what’s to come for DiCaprio, leading the hedonistic lifestyle similar to Jordan Belford in The Wolf of Wall Street and holding his own against more seasoned actors such as working alongside Jack Nicholson in The Departed.

There is a wonderfully rounded supporting cast, headed up by a marvelously goofy performance from Tom Hanks as FBI agent Carl Hanratty, who leads the chase to apprehend Frank. Hanks is quite happy here to stay in the background and until his second appearance almost 40 mins in you forget that he is in the film at all. Hanks appears to be having a great time and it is refreshing to see him play a lighter role after such a tortured turn in Saving Private Ryan. Witness the scene where Carl discovers a red garment has been mixed with his washing at the launderette to see Hanks at his most playful. The film is also noted for an early scene stealing performance from Amy Adams as the naive fiancee. However it’s Christopher Walken who leaves the audience heartbroken, playing the outwardly over confident but ultimate failure that is Frank Snr. A father who is a failure in a Spielberg film, now where have we seen that before. Walken, who in my mind has always had an unusual screen presence, provides Frank Snr with edgy ticks that manages to convey a man who knows that everything is unravelling around him whilst lending a reassuring presence to Frank Jnr that all is well. Its at equal parts a powerhouse performance mixed with a sentimental subtlety from Walken. A particular stand out lunch scene between Franks Snr and Jnr is beautifully played by Walken and DiCaprio respectively. When the cast is on such form, as is evident throughout the movie, then Spielberg doesn’t have an awful lot to do. I don’t mean this in a derogatory way, but one thing I feel Spielberg has developed more in the 21st Century, is knowing when to just let the camera roll and allow the actors to get on with it. Catch Me If You Can was the first time I properly noticed this and is evident in future works such as Lincoln and The Post.

However, this is without doubt the most fun he has had since the turn of the century and this is reflected in his relaxed process to his direction, he finally gets to realise one of his long held ambitions, albeit fleetingly, with a brief homage to James Bond, Aston Martin DB5 et al. The film is shot mainly in a bright orange hew to demonstrate the overall lightness of tone, but the darkness that has followed Spielberg around since the year 2000 is never too far away. Frank Snr’s demise is one thing, the film also touches on abortion and infidelity but overall this is the sort of Spielberg film that you would quite happily recommend to your parents to watch. Spielberg would continue to go with a lighter shade of pale with his next offering.

Why should you watch it?

It demonstrates that Spielberg still had a fun side. It showcased that he was still the master of being able to pace a film without ever going too far in one direction. It also has the best opening credits sequence of any Spielberg film.

The Terminal (2004)

You say you are waiting for something. And I say to you, “Yes, yes. We all wait”.

Tom Hanks in The Terminal (2004)  Tom Hanks in The Terminal (2004)

So we reach that point in my blog where we talk about the film in each decade that is often ignored when discussing Spielberg films. Here in the Naughties we move onto The Terminal, a bittersweet tale about a man named Viktor Navorski played by Tom Hanks who’s home country of (the fictional) Krakhozia falls to a military coup whilst Viktor is somewhere over the Atlantic Ocean meaning that he is now a resident of nowhere and therefore cannot enter the United States of America or return to the now non-existent Krakhozia. Therefore Viktor is stuck at JFK airport………indefinitely. This sounds like a rather dour premise for a film but what follows is a rather charming tale about humanity and acceptance, strong recurring themes in the Spielberg cannon.

The Terminal slapstick style of humour is a joy to watch, not least Kumar Pallana’s sneaky airport caretaker who takes great pleasure on watching people slip on his deliberately soaked floors. Further to this, Hanks himself channeling some of his earlier physical comedy that hadn’t really been seen since the late 1980s. There is a Chaplin-esq quality to Hanks throughout in what is a hugely underrated performance from a man who always seems to be at the top of his game.

I suppose the question remains however whether Hanks should have been cast at all. I’m not sure if The Terminal was made now that he would have been (forget his age for a moment). As good as Hanks is in this film and that is undeniable, it seems the safe, quick and easy casting decision. I am the biggest Tom Hanks fan on my street, I host an annual Hanksgiving event each November where we* celebrate the brilliance of the man but even I would be intrigued to see a European actor in the lead role here and I think if made today that would have happened.

The other stand out in this film is Stanley Tucci as the uptight airport immigration official Frank Dixon, his resentment growing with each passing scene. Catherine Zeta Jones is very pretty but little else as the air hostess who catches Viktor’s eye in an unnecessary romantic subplot that ends just as it would in reality, which I suppose is something. Of far more interest is the romantic subplot between Diego Luna’s immigrant airport worker and a young Zoe Saldana who plays an immigration officer.

The Terminal is loosely based on the true life case of an Iranian, Merhan Karimi Nasseri, who still lived in Paris’ Charles de Gaulle airport at the time of filming and became a tired, frail and lonely individual. The Terminal doesn’t go there but it may have been interesting to see how Viktor’s mental health would have been effected over time, he was after all stuck at the airport for 9 months which surely would have tested anyone’s sanity. Spielberg plays it safe and bearing in mind his other output in the 2000s that’s probably not a bad idea.

The fact that The Terminal is not mentioned more positively among fans is actually a great shame as this is Spielberg at his most crowd pleasing and there is lots to be enjoyed here. This is his equivalent to playing an easy listening album on a Sunday afternoon. You are able to allow The Terminal to largely wash over you and makes few demands of the audience other than to not take yourself too seriously for the next couple of hours. There are issues with the film and it has no danger of ever troubling my Spielberg top 10 but this is as inoffensive as Spielberg gets and I laughed throughout and occasionally even had to remove that annoying dust that one sometimes gets in their eyes. Its also worth noting that if any readers are watching Spielberg films chronologically as I am (of course you all are ha ha) then enjoy The Terminal whilst it lasts as the rest of this decade is not pretty and the darkness on the horizon will have you longing for Viktor’s charm and warmth.

* Its basically just me sat watching Forrest Gump on repeat for 24 hours on the last Friday of November.

Why should you watch it?

At time of writing this is the closest Spielberg has got to really nailing a romantic comedy. Its a vastly underrated piece and was largely overlooked on release. Whilst never attempting to change the World, it deserves to find a wider audience.

War of the Worlds (2005)

“This… This machine it just started… torching everyone… killing everything.”

War of the Worlds (2005)  

Spielberg was back to his old tricks in 2005 with a double cinematic release, one aimed at the Blockbuster audience, War of the Worlds and another more serious, award baiting affair the upcoming Munich. However the main difference here is that there are no smooth edges, no crowd pleasing triumphs and quite frankly a lack of humour. This is Spielberg’s darkest hour. War of the Worlds is a fascinating entry in the Spielberg cannon, its quite possibly his bleakest film, the sense of loss and impending doom is quite startling. I remember watching at the cinema thinking being a Spielberg film starring Tom Cruise it will all be alright in the end, and frustratingly it kind of is (more on the ending later) but this is no happy shiny summer blockbuster with wise cracking buddies exchanging quips and uploading computer viruses into Alien spacecraft, this is an intense and at times disturbing experience for all involved.

Unusually for a Spielberg adventure tale, there is very little preamble or prologue, the aliens are introduced within the first 20 minutes, this is a tale about survival and the audience are thrown straight into the action of highways exploding and vehicles plummeting through the air as the alien crafts destroy everything in its path. There is no cosy suburban build up to this, Ray (Cruise) lives in a dull, grey street surrounded by downtrodden folk in a house that is bland and in dire need of a clean. We feel the apprehension of Robbie and Rachel, Ray’s estranged children, as they visit for a weekend submitting to the impending boredom and frustration. Ray is a poor father and role model (hmm we’ve been here before) but will redeem himself somewhat by the end.

Away from the spectacle it is some of the quieter moments where the tension and fear is raised up a notch in War of the Worlds. Notice in particular a quick scene in Robbie and Rachel’s mums kitchen where Ray aggressively attempts to make peanut butter sandwiches for their on-going journey. Here Cruise walks the fine line between attempting to remain calm and not totally losing his mind as he struggles to comprehend what has just happened to him. Food related panic is a Spielberg trait often overlooked see Roy building his mash potato mountain in Close Encounters and the effect that has on the others at the dining table, Elliot announcing to all that his dad is in Mexico with Sally, or Lex’s lime jelly wobble uncontrollably as the silhouette of the Raptor is seen behind the curtain in Jurassic Park, or David’s shocking unprovoked laugh at the dinner table in A.I.

The sandwich making scene is just the start of the quieter psychological scramblers on display here. The whole basement sequence with a menacingly sinister Tim Robbins almost stealing the show as the self proclaimed preacher Ogilvy, is right up there in the tension stakes alongside the Raptor attack in Jurassic Park or even the slow ascent up the hill of David Mann in his fuel sapped car in Duel whilst the truck closes in. The difference here is that there is no escape. The basement is grim, damp, and dark, the set wouldn’t look out of place in an Eli Roth film. Together with scenes of car jacking, capsizing ferry’s and a river filled with dead bodies, a sunny disposition filled blockbuster this certainly isn’t.

It is not a pleasurable experience watching War of the Worlds but it is a fascinating one. Some of the visuals on show are mind boggling and people should not underestimate Tom Cruise here. He has this film in the palm of his hand from the very opening and is on top form throughout. Dakota Fanning who plays the young Rachel is also fantastic. Yet again another non-annoying child performance showing a level of acting maturity. without you ever forgetting that she is a young child.

What prevents War of the Worlds from joining the pantheons of Spielbergs truly great films is a last 5 minutes which is as disappointing an ending as Spielberg has ever submitted. Maybe he too found the previous 100 minutes too dark and desired to leave the audience with a more optimistic conclusion. My problem is that I had invested time in these characters, I had bought into and accepted the choices they had made during the intensity of the battle in the film, I assumed they were a done deal so it was disappointing to have the rug somewhat pulled out from beneath me in what still feels an unnecessary epilogue.

Why should you watch it?

War of the Worlds is the grimmest of grimness in a very grim decade from Spielberg. For those who doubt Spielberg still had the capacity to be edgy and subversive, they need to watch this. There is nothing happy about this film, apart from a brief unnecessary post script. I watched again recently and was unnerved by its darkness. I think this film has got better with age and like a lot of Spielberg’s early Millenium output requires retrospective reviews. This is gripping stuff

Munich (2005)

We have 11 Palestinian names. Each had a hand in planning Munich. You’re going to kill them, 11 men, one by one

Munich (2005)  Munich (2005)

Once again in 2005 Spielberg graced cinema with two releases, however where you usually find a crowd pleasing mainstream blockbuster alongside a hard hitting drama, in 2005 you could be forgiven for thinking that Spielberg was on somewhat of a downer. The less than optimistic War of the Worlds was followed up by Munich, a film that rejects lightness of tone like no other Spielberg film. It’s an uncompromising piece of fiction based loosely on real events and is far removed from the crowd pleasing Spielberg as is thought possible. This is unflinching stuff and its flippin’ brilliant.

Controversial from inception to release, critics rounded on the moralistic message of the film, this is “eye for an eye” storytelling, we know as an audience who we are rooting for as long as we don’t focus to centrally on what they are actually doing. What we have here is on the face of it an espionage thriller, as Avner ,played with piercing realism by Eric Bana works alongside his team consisting of driver, a slightly out of place pre-Bond Daniel Craig, bomb makers, a wonderful Mathieu Kassovitz who really should be in more films, and clean up man played imperiously by the ever dependable Ciaran Hinds.

What sets this aside from your John Le Carre’s and Ian Flemings of this World, is that this is no slick operation, its hardly a glamorous existence, there is not a Milk Tray man insight. We are left in no doubt from the start of that the team are not cold bloodied assassins, they are there to do a job and they display all the signs of individuals who know that they are undertaking a horrific task. The set pieces are as taut as a snare drum in particular a booby trap phone that nearly takes out the young daughter of the named target and a bed bomb that takes out more than the team bargained for in more ways than one.

Going against the Spielberg grain somewhat there is plenty of focus on the human side of the story. Avner is not an absent father, more due to circumstance he’s an absent husband. Avner’s main focus throughout the film is his family and with each “successful” mission he seems to be further away from home, a call back to Tom Hank’s Captain Miller in Saving Private Ryan.

Munich is exhilarating stuff and wrongly gets overlooked when discussing Spielberg’s top end dramatic films. Its possibly his most unsentimental film, it starts bleak and never rises above greasy grime. There is no triumphant walk off into the sunset for our protagonists here, instead a hot and sweaty descent into paranoia and regret. Spielberg has rarely been this pessimistic in his denouement and Munich is all the more authentic as a result. It really is Spielberg at his most fascinating and is perfectly in line with the more darker, dare I say it interesting films that have characterized his work up to this point in the 21st Century.

After the double hitter of 2005, his 6th since 2001, Spielberg would now go on to only make one film in the next six years and that would be a somewhat surprising return to an old trusted friend.

Why should you watch it?

Tense, claustrophobic, depressing, dark and gloomy. Spielberg’s output in 2005 was in stark contrast to his popcorn days of the 70s and 80s. Here we have a more intimate story set on a backdrop of paranoia. Munich’s moral see-saw adds a new dimension to Spielberg, who up until this point in his career had largely stayed clear of controversy. Munich enthralls and grips from the start, and is challenge for the viewer. Its essential Spielberg.

Indiana Jones and the Kingdom of the Crystal Skull (2008)

It’s not the years, it’s the mileage

Indiana Jones and the Kingdom of the Crystal Skull (2008)  Harrison Ford, Karen Allen, and Shia LaBeouf in Indiana Jones and the Kingdom of the Crystal Skull (2008)

Talking about triumphant rides off into the sunset, the last time we saw Indiana Jones in the cinemas, he was riding off with his father and two of his closest friends in perfect silhouette in one of Spielberg’s most satisfying closing shots. That was 19 years previous and following on from a Millenial desire to nostalgically revisit former glories that included the divisive yet phenomenally successful Star Wars prequels, the announcement in 2006 that a new Indiana Jones film was to be made was met with delight and excitement possibly never felt for a Spielberg film, particularly in the internet age.

The delight and excitement of course led to one word, expectation. Artistically it could be argued that Spielberg had never been in as rich a vein of form as he had enjoyed in the preceding 10 years. Executive Producer and Indiana Jones originator George Lucas also had had enormous financial success with the aforementioned Star Wars prequels so it seemed to make perfect sense to revisit the crowd favourite. If anything it was the third part of the essential Indiana Jones triumvirate that perhaps needed to revisit the character the most. Without a recognised box office success since 2000s What Lies Beneath, Harrison Ford was probably in greater need than Spielberg and Lucas to make this delayed 4th installment a success.

Lucas had allayed fears of an older Indiana Jones by stating that there was nothing to stop the character continuing to have adventures in his later years and so the decision was made to keep with the Indiana Jones timeline by setting the film in the Cold War paranoia of the 1950s. The themes of paranoia had dominated the majority of Spielberg films of the 2000s, whether this was a response to 9/11 or a genuine desire to tell these tales is unclear.

By moving Indy to the 1950s the film makers were able to use the anxiety of post war America. Gone were the Nazis and the Religious artifacts, replaced by robotic Russians and Roswell inspired Alien creatures. The film plays on the ageing process as Dr Jones is plunged head first into the birth of rock n roll, with nods to Laslo Benedeks’s The Wild One, and Elvis Presley’s Hound Dog making it clear that time has moved on since we last spent time with him. This is a promising set up and its nice to see one of Cinema’s most familiar characters in this rather unfamiliar setting.

There are touches of the old magic on show as well. A fantastic motor cycle chase through the grounds of Harvard University would have not felt out of place in the any of the original three films and its clear to see that Ford has slipped effortlessly into the old leather jacket with ease. Its the second half of the film where it sadly loses its way, with misjudged set pieces and an over reliance on CGI which is made worse by the fact that in a number of shots, it doesn’t look quite finished, exhibit 1, Mutt sword fighting in between two jeeps in the jungle with extending legs.

Spielberg and Lucas were understandably able to attract a fine cast to work alongside Ford but the names on the call sheet appear to have added to the weight of expectation that was tightening around the productions neck. Oscar winner Cate Blanchett is amazing in everything but here feels miscast as a Russian villain who is neither Molaram scary or Belloq intimidating. The legendary John Hurt shows up as Indy’s old mentor Oxley but he’s given so little to do it looks like he thinks he’s in a completely different film to everyone else. These two however pale into insignificance when compared to a truly dreadful performance from perennially dreadful Ray Winstone, who plays a cockney double or triple agent who is annoying from the moment he is on screen with his cheeky “Oi Jonesy” schtick. The biggest disappointment for me is that by the end of the film he is still around.

Then of course there is the much maligned Shia LaBeouf, an actor who has suffered more than anyone at the internet keyboard warriors over the years. Yes he has not helped himself with a personal life that seems to bounce from indiscretion to indiscretion, however I think he is not that bad in this film. Yes his cockiness makes you long for the naive innocence of Short Round, or the comforting presence of Salah but the characters flaws can’t be pointed solely at LaBeouf.

Despite the casting/character problems it is a joy when Karen Allen makes her first appearance on screen as the returning Marion. She may have lost some of the confident spark but she certainly hasn’t lost her undoubted sassyness. Indy’s reaction on their reunion is pure delight and it is a feeling felt among the audience. There is also a touching cameo from Jim Broadbent who partially fills the gap left by long departed Denholm Elliot and the unable to be persuaded out of retirement Sean Connery.

So onto the Aliens and the nuclear protecting fridge. To be fair neither bothered me too much, Indiana Jones has always been a series of films where otherworldly treasures and unlikely situations arise, that has always been part of the fun. Is surviving a nuclear blast in a lead lined fridge anymore unlikely than falling 20000 feet from a plane with just a rubber dingy to land on, or for that matter, aliens visiting and storing treasures on Earth more fantastically bonkers than a cup that gives everlasting life?

Through the unrealistic expectations prior to release it was at times for some people difficult to remember that these were adventure tales not set in reality. Whilst never reaching the dizzying heights of the original three films there was still plenty to enjoy. It definitely demands a second watch if one hasn’t already taken place. For those who dismissed it on release it might be time to revisit and you never know you may be surprised.

Why should you watch it?

Because its not as bad as you think, the first half in particular is terrific. Yes there are missteps and it never sits snuggly with the rest of the series, but the weight of expectation that burdened it should be put to one side now and the film judged on its own merits. Like all of Spielberg’s 2000 decade output, it deserves a second chance.

Summary

So overall a rather inauspicious end to what I believe to be from a creative point of view, Spielberg’s most intriguing decade. It is a decade that is full of films that audiences have been known to approach with suspicion and dismiss on initial release. They all warrant and deserve repeat viewings. The first half of the decade in particular has some of the most impressive, off the leash, artistic works of his career.

He has now moved onto the current decade where film making has returned in part to a more classical approach, whilst still demonstrating that he is willing to experiment and challenge himself in areas of new exploration.

All images courtesy of http://www.imdb.com