E.T. The Extra Terrestrial – Review & Bluray features
E.T. The Extra Terrestrial
11 Jun 1982
Behind the scene and other Major Plot Points
E.T. in CANNES
When it was test-screened at the Cannes Film Festival as an unofficial entry, it brought the house down, receiving a standing ovation that had eluded most of the official entries.
E.T. in WHITE HOUSE
Steven Spielberg personally screened his film at the White House for president Ronald Reagan and first Lady Nancy Reagan
E.T. in ACADEMY
The film was nominated for nine Oscars at the 55th Academy Awards, including Best Picture. Gandhi won that award, but its director, Richard Attenborough, declared, “I was certain that not only would E.T. win, but that it should win. It was inventive, powerful, [and] wonderful. I make more mundane movies.” It won four Academy Awards.
E.T. in AFI POLLS
In American Film Institute polls, E.T. the Extra-Terrestrial has been voted the 24th greatest film of all time the 44th most heart-pounding, and the sixth most inspiring. Other AFI polls rated it as having the 14th greatest music score and as the third greatest science-fiction film. The line “E.T. phone home” was ranked 15th on AFI’s 100 Years…100 Movie Quotes list, and 48th on Premiere‘s top movie quote list. The character of Elliott was nominated for AFI’s 100 Years…100 Heroes & Villains as one of the 50 greatest heroes
Age of E.T.
According to the film’s novelization, E.T. is over ten million years old
Eyes of E.T.
The young actors (Henry Thomas, Drew Barrymore, and Robert MacNaughton) found the ET puppet’s eyes too far apart to comfortably look ET in the eye when they had to act with it. The actors solved the problem themselves by selecting a single eye to look at for every scene
Makeshift communicator used by E.T. to phone home. Among its parts is a Speak & Spell, an umbrella lined with tinfoil, and a coffee can filled with other electronics. ET’s communicator actually worked, and was constructed by Henry Feinberg, an expert in science and technology interpretation for the public.
Logo of AMBLIN ENTERTAINMENT
Empire called Elliott and E.T.’s flight to the forest the most magical moment in cinema. The image of them encircled by the moon is now the symbol for Spielberg’s film and television company Amblin Entertainment.
John Williams soundtrack for the movie is absolutely amazing! It kills on every scene, especially when played more intensely Longtime Spielberg collaborator John Williams, who composed the film’s musical score, described the challenge of creating a score that would generate sympathy for such an odd-looking creature. As with their previous collaborations, Spielberg liked every theme Williams composed and had it included. Spielberg loved the music for the final chase so much that he edited the sequence to suit
Steven Spielberg shot most of the film from the eye-level of a child to further connect with Elliot and E.T.
It is the kind of film that young people are going to want to see again immediately after they’ve seen it. (In fact, I wouldn’t be surprised if some theaters have trouble ejecting children who want to stay for the next show.)
SHOT in chronological order
Steven Spielberg shot the film in chronological order to invoke a real response from the actors (mainly the children) when E.T. departed at the end. All emotional responses from that last scene are real.
Comparisons with Close Encounters of the Third Kind
“E.T.” essentially is director Steven Spielberg’s reworking and expansion of the touching, final scene in his popular “Close Encounters of the Third Kind.”
RT/Meta critic review
An appealing film this new one is, with some charm, some glee in the childrens’ triumphs, some share in their friendship with E.T. Click Here to see
This is a special, delightful adventure, in which Spielberg manages not only to entertain young children but also reach out to the child in all of us.Click here to see
E.T. the Extra-Terrestrial still evokes laughter, tears and that heart-lifting surge of joy only a great movie can bring. (See More)
When I was nine years old and watched E.T, I felt I would not see so soon any other film so rewarding and satisfying. Since then, 9 years have passed but my opinion has not changed.(Potter17/MetaCritic)
E.T. dazzles with a lovely, beautifully restored and, yes, filmic 1080p/AVC-encoded video transfer supervised and approved by Spielberg himself; one that I can’t imagine will generate many, if any, serious complaints. For those who’ve long railed against Universal’s treatment of its catalog titles, take this moment to breathe a hard-fought sigh of relief. E.T. doesn’t exhibit any signs of problematic filtering, unnecessary tweaks, noise reduction or, really, any other technique that might undermine its textures’ integrity, reduce its grain to a soupy mess, or subvert Spielberg’s intentions or Allen Daviau’s photography in any way. Simply put, E.T. has never looked better, never been more faithful to its original presentation, orexhibited more life and vitality than it does here. Colors are warm and pleasant, with wonderfully saturated skintones, bright primaries and satisfying contrast. (Black levels are often a touch muted, but very little appears to be out of sorts.) Detail is excellent as well, even if soft shots are fairly common and special effects sequences come with a slew of inherent anomalies (the most distracting of which involves general, image-wide disruptions most noticeable in the night sky). The key word there, though is “inherent,” as none of it appears to trace back to anything other than the source. Otherwise, edges are clean and refined (with only the slightest hint of intermittent ringing to be found), fine textures are nicely resolved, a variety of shots are far more revealing than I anticipated, delineation is commendable, and there isn’t any significant artifacting, banding or aliasing to report. Perfect? Not quite. As close to perfect as could feasibly be achieved? I suspect so. Fans will be most ecstatic, Universal skeptics will be most surprised, and everyone in between will be most impressed.
E.T. phones home with quite an unexpected surprise: a full and boisterous DTS-HD Master Audio 7.1 surround track that propels the film into the future without distancing its original sound design too far from the past. The rear speakers aren’t aggressive per se but they are most engaging, immersing the listener in whatever dense underbrush, foggy forests, cramped closets, busy classrooms or mobile med-labs await. Directionality is reserved but precise (particularly in early scenes, when E.T. is avoiding human contact), pans are smooth and there isn’t much in the way of air hiss or a noise floor in any of the scenes. It’s still a thirty-year-old film with thirty-year-old sound design (difficult as it is to tell at times), but just as much attention and care has been invested in the eight-channel remix as the 1080p video presentation. John Williams’ score is the greatest beneficiary to the lossless 7.1 upgrade, of course, and his sweeping themes and soaring orchestral melodies flow freely from every channel, creating a more robust and evocative experience than many will be prepared for. Low-end output is strong as well, lending weight and presence to spacecraft and shady government agents as needed, and dynamics don’t disappoint. Dialogue and alien chatter, meanwhile, is clear, intelligible and carefully centered, and only a handful of lines are hollow, muffled or tinny. So could E.T. sound any better? Honestly, I don’t see how.
- Steven Spielberg &T. (HD, 13 minutes): Spielberg recounts the story of E.T.‘s genesis, development and production in this new retrospective, touching on the inspiration for his story, Melissa Mathison’s subsequent script, the focus on Elliot and his siblings over E.T., the personal nature of the project, and the overwhelmingly positive response to the film.
- TheT. Journals (HD, 54 minutes): Composed entirely of original behind-the-scenes footage shot during the production, this two-part fly-on-the-wall documentary is wonderful. There isn’t any narration — just candid on-set interviews with the cast and crew — but there isn’t any pretense either. Only a group of people committed to making a movie they truly believe in. There are dozens of memorable moments to be had too, many of them involving Spielberg’s interaction with young Henry Thomas, Robert MacNaughton and Drew Barrymore. A must-see? Absolutely.
- Deleted Scenes(HD, 4 minutes): Bathtub hijinks and Halloween anarchy. Spielberg was wise to cut each.
- A Look Back(SD, 38 minutes): A non-anamorphic production documentary ported over from the 2002 20th Anniversary Edition DVD. Very good, very engaging; it’s just a shame it isn’t presented in high definition.
- The Evolution and Creation ofT. (SD, 50 minutes): Also pulled from the 20th Anniversary Edition DVD, this follow-up doc is a bit redundant on occasion, but the interviews and other behind-the-scenes footage it features lend it plenty of value.
- TheT. Reunion (SD, 18 minutes): Spielberg, Thomas, MacNaughton, Barrymore, Dee Wallace, Peter Coyote and producer Kathleen Kennedy gather together and share memories of the shoot.
- The 20th Anniversary Premiere(SD, 18 minutes): Composer John Williams and a full symphony orchestra perform the film’s score for a live audience watching the movie at its 20th Anniversary Shrine Auditorium premiere. Note: this is an 18-minute featurette; not a presentation of the full orchestral performance.
- The Music ofT. (SD, 10 minutes): A conversation with Williams.
- Designs, Photographs and Marketing(SD, 45 minutes): Six image galleries.
- Special Olympics TV Spot(SD, 1 minute)
- Theatrical Trailer(SD, 2 minutes)