![]() ![]() But the cumulative effect of the earlier audio-visual nightmare–not helped at all by some of the frenzied acting of the principals nor some mob scenes which seem like homage to Billy Wilder’s “Ace in the Hole” is to drive at least one viewer to near-distraction. ![]() ![]() Obviously all this was deliberate, to set up the climactic and oddly-pastoral encounter with the humanoids from another world. He has a rather misanthropic viewpoint of contemporary suburbia add to this a tendency to many closeups (in Panavision, yet) and you have some irritating visual jerkiness throw in what sounds like over-dubbed noise effects, overlapping dialog, a Dreyfuss household consisting of bewildered spouse Teri Garr (her second such casting this season) and three repulsive children, Truffaut talking French through interpreter Bob Balaban, and you have an audio cacophony as well. Spielberg creates an uneasy tension throughout these first 100 minutes, though the tension eventually is more self-defeating. Separately, Dillon’s son is kidnapped by a UFO, giving her a fixation. Dreyfuss’ entire life changes as he gets a fixation on an odd mountain-looking shape that, after overbearing and overdone emphasis, turns out to be Devil’s Tower in Wyoming where the UFOs seem to plan an earthly landing. The early UFO manifestations vividly depict the strong electro-magnetic field exerted on people and objects. ![]()
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