E.T. Review
It was nothing like that, penis breath!
1982; what a year for film releases!
The list is quite incredible, with the likes of Blade Runner, The Thing, First Blood, Poltergeist, Star Trek II: The Wrath of Khan, Gandhi, The Dark Crystal (to name but a handful) and top of the hill, at least in terms of box office receipts, E.T. The Extra Terrestrial.
Spielberg was hitting something of a creative stride come E.T., he’d already smashed the box office with Jaws, Close Encounters of the Third Kind, and Raiders of the Lost Ark, and would take the crown for years with E.T., but, having made all the crowd pleasers, he would hitherto seek ‘Academy fame’, with a slew of epics, all meant for Oscar glory, something that would elude him until Schindler’s List in 1993. But it is with the earlier films that he cemented his reputation; able to eke emotion by putting a family dynamic into jeopardy, something that would become a staple for all his films.
And it is all here in E.T.
There are several keys to its success, the first is the casting, the family unit of Dee Wallace as mum (so enchanting in her unscripted giggles and motherly love towards Gertie), Robert MacNaughton as the elder brother, the first to tease and berate his younger siblings, but equally first as protector and guide, the incredible performance of Drew Barrymore (who narrowly missed out on the Carol Anne role in Poltergeist, but simply shone here) who was so transfixed by the ET puppet she believed it real, meaning her performance was 90% genuine, and Henry Thomas as protagonist Elliot, the boy who found, befriended and bonded with the alien to such a degree his very essence became physically embroiled, he was so touching and so believable in his actions and empathy that the audience celebrates in his joy, laughs at his antics, and cries at his anguish – he is the linchpin of the movie and the embodiment of the films emotions.
The second would be the filming style that Spielberg employed during principle photography; always from the children’s point of view, i.e. low down/waste high, and having all the adults, save mum, faceless or offscreen. It adds a layer of complexity, intimacy and innocence to the film, so that when the frame does open out, during the makeshift hospital bed scene, it becomes loud, confusing and chaotic, just as a child would view it.
The third would be the effects, more especially E.T. itself, a solid, believable puppet that was so convincing that it changed the way the public viewed aliens; no longer where they an invading force wishing to conquer and subjugate, but a benevolent and kind species wanting to explore and learn, he became a beacon of hope and love, so that when he returns to his people we suffer the same anxiety and loss as Elliot and the family.
And, of course, John Williams' score. Without which BMX’s wouldn’t fly.
Watching the film through (slightly more) adult eyes, the craft and composition of the film is immediately obvious, but at the same time exceptional. The camera angles and framing really elevate the film; when the doctors and surgeons are surrounding E.T. on the operating table when he appears to be dying – I remember as a child siding completely with Elliot – they were killing him; but now as an adult you see the pains taken to try and save him: real medical procedures being called out and used to do anything to preserve this enigma; is shows a skill in the direction that Spielberg had mastered. If I had one criticism, though, it would be that Elliot isn’t lonely enough. By that I mean he creates the bond with E.T. due to his being something of a loner at school, and left out of his brother’s gang of friends, I think it needed something a little more to give the bonding element more weight. But that’s just me being pedantic.
E.T. The Extra Terrestrial is a glorious film, a near perfect example of the cinematic art, combining story, characters, sound and vision into a cacophony of emotional investment that is both enriching and immensely satisfying – it gets better with every viewing.
E.T. 4K Video
E.T. The Extra Terrestrial was shot on 35mm film using Panavision Panaflex Gold Cameras with the film receiving a 4K scan and restoration back in 2017, from which this UHD is presumably sourced.
The disc presents a native 3840 x 2160p resolution image, in the widescreen 1.85:1 aspect ratio, using 10-bit video depth, High Dynamic Range (HDR), a Wide Colour Gamut (WCG) and is encoded using the HEVC (H.265) codec for HRD10.
We reviewed the Region free UK Ultra HD Blu-ray release of ET The Extra Terrestrial on a Panasonic TX-65HZ1000B Ultra HD 4K TV with a Panasonic DP-UB450 Dolby Vision HDR10+ 4K Ultra HD Blu-ray player.
Alien spaceship
There is plenty of detail on show, from skin texture and clothing weaves to mud and foliage, from general clutter around the children’s home to the instruments and hardware of the government agency, the bark on trees, the wiring of the speak and spell, the moon, the vistas of the suburban valley, the clouds in the sky – all keen without softness.
WCG and HDR give a natural boost to the colours without losing the cinematic intent, so flesh tones are very natural, greens of the lawns and other flora are lush without being garish, reds are bold, and blues are cool, blood and carpets are rich, and skies look alive.
Brightness and contrast are set to give deep strong blacks, with some decent shadows, check out the forest of the shed at night, while the white scale gives intensity and form to the highlights – torches have presence and are not just blobs of white, the streetlights and alien spaceship lights shine off the screen.
Digitally there are no compression issues, and the original source is pristine, with a light sheen of grain reminding of the photochemical origins of the piece without ever being intrusive.
E.T. 4K Audio
The English DTS:X track is gorgeous, adding a tremendous amount to the surround environment. Right at the beginning when E.T. is scurrying through the woods, the surround and overhead channels are employed to give a realistic atmosphere with movements of leaves/branches, footsteps and weather; it ramps up as the government start their assent, E.T.’s laboured breathing becoming front and centre then the ship takes off, overhead – simple but wonderfully realised. The surround and overhead channels expertly convey ambience: school children chatter, home/kitchen noise, cars on the streets, the movement of the children during the Halloween walk, all form E.T.’s perspective, is excellent.
John Williams' score has never sounded so rounded and positioned in 3D space; as the strings swell and the orchestra rises the layering for the instruments and their positioning is wonderful. Bass is deep and tight, used to fill out effects and the score to great effect. Dialogue is clear and natural sounding, given directionality but dominating the frontal array. In all a terrific track.
Review System: Denon AVR-X4300H, MK Sound LCR750 and SUR55T, XTZ S2 Atmosphere ceiling mounted, SVS PB-12 Ultra.
E.T. 4K Extras
All on the included Blu-ray, all previously seen:
Deleted Scenes
Steven Spielberg & E.T.
The E.T. Journals
A Look Back
The Evolution and Creation of E.T.
The E.T. Reunion
The Music of E.T.: A Discussion with John Williams
The 20th Anniversary Premiere
Designs, Photographs and Marketing
Theatrical Trailer
Conclusion
E.T. the Extra Terrestrial 4K Blu-ray Review
There is no denying the impact of E.T. It was, and remains, a culturally significant film, cementing Steven Spielberg as one of the greatest directors of all time. His managing of the family unit, his camera movements and his storytelling makes a beautifully crafted film, rich in character, overflowing with emotion and a thoroughly entertaining ride.
The UHD set from Universal is fine; the native 4K image is terrific, well detailed, perfect colouring and wonderful black level, while the DTS:X surround track is stunning with immersive 3D effects and layering. The extras package is fine, even if it’s all been seen before.
ET The Extra Terrestrial is out on 4K Ultra HD now.
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