Close encounter

Close Encounters of the Third Kind was being shown on TV this weekend. I happened across it accidently, and sat glued to it for a couple of hours, realising perhaps how burnt into my subconcious some of the images in it are for me.

I started watching it not for the story (of which there is not much, admittedly) but trying to watch the imagery, the iconography.

Obsessing over the production design in the last 20min of Close Encounters

So many of my hot buttons pressed! One of the first issues of Starlog I ever bought, about 1978/79 / a classic 2000ad cover by Brian Bolland / The Goodies / Syd-Mead-esque prefabricated pods and silky tracksuits / 1975 NASA Ames /Stanford Torus research illustrations / the italian-supermodern furniture aesthetic of Space 1999 /

Obsessing over the production design in the last 20min of Close Encounters

I’m currently reading Ken Holling’s excellent “Welcome To Mars”, in which the golden age of flying saucer culture is juxtaposed with the rise of suburbia and the military-industrial-entertainment complex.

Obsessing over the production design in the last 20min of Close Encounters

One could conside Close Encounters as the end of that trajectory – and the end of other trajectories: the last freak-out LSD scifi, the last ‘serious’ 70′s scifi before/during the starwarsification of the scifi movie.

Obsessing over the production design in the last 20min of Close Encounters

And the beginning of trajectories: the scifi conspiracy movie, the beginning of the industrial light-and-magic revolution, and an in-joke that would play out more than 25 years later in Alias.

Obsessing over the production design in the last 20min of Close Encounters

Aside from being lost in the imagery, one piece of dialog I had never heard before floated through as soon as I’d switched on. It’s the sceneĀ  where a young boy, Barry is about to be abducted.

His mother tries to block all the doors, windows and ducts but cannot stop screws being unscrewed and their hiding place being unwrapped by light, noise and apparent unseen malevolence.

Obsessing over the production design in the last 20min of Close Encounters

Barry stands smiling, points at the UFOs and cries with joy: “TOYS!!”

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1 comment
  1. Curtis said:

    Lovely post. You know the guy playing the synth is an ARP technician:

    “The 2500′s most notable usage was when it was employed in the motion picture Close Encounters of the Third Kind to communicate with aliens. The ARP technician sent to install the unit, Phil Dodds, was cast as the musician. The unit featured in the film consisted of a fully loaded main unit, two fully loaded wing cabinets and dual keyboards in a custom case.”

    Amazing imagery and sound.

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