This listing is for Close Encounters of the Third Kind Collector's Edition VHS Video Tape New Sealed.
Actors: Richard Dreyfuss, François Truffaut, Teri Garr, Melinda Dillon, Bob Balaban
Directors: Steven Spielberg
Writers: Steven Spielberg, Hal Barwood, Jerry Belson, John Hill, Matthew Robbins
Producers: Clark L. Paylow, Julia Phillips
Format: Closed-captioned, Color, Special Edition, THX, NTSC
Language: English, French, Hindi, Spanish
Rated: PG - Parental Guidance Suggested
Number of tapes: 1
Studio: Columbia Pictures
VHS Release Date: May 12, 1998
Run Time: 137 minutes
The Collector's Edition (CE) represents Steven Spielberg's third version of Close Encounters. Created in 1998, this sequence contains most of the judicial edits made for the Special Edition (SE) in 1980, speeding up Roy Neary's first contact with the UFOs and adding a scene of a discovery in the Mongolian desert. The Collector's Edition also reinstates the comical madness of Neary tearing up his own front yard, replaced in the SE by a scene where he breaks down in the shower; both scenes are restored in the CE. The SE's revised ending, featuring an extended scene inside the mothership is deleted.
Anybody who has written him off because of his string of stinkers--or anybody who's too young to remember The Goodbye Girl--may be shocked at the accomplishment and nuance of Richard Dreyfuss's performance in Close Encounters of the Third Kind. Here, he plays a man possessed; contacted by aliens, he (along with other members of the "chosen") is drawn toward the site of the incipient landing: Devil's Tower, in rural Wyoming. As in many Spielberg films, there are no personalized enemies; the struggle is between those who have been called and a scientific establishment that seeks to protect them by keeping them away from the arriving spacecraft. The ship, and the special effects in general, are every bit as jaw-dropping on the small screen as they were in the theater (well, almost). Released in 1977 as a cerebral alternative to the swashbuckling science fiction epics then in vogue, Close Encounters now seems almost wholesome in its representation of alien contact and interested less in philosophizing about extraterrestrials than it is in examining the nature of the inner "call." Ultimately a motion picture about the obsession of the driven artist or determined visionary, Close Encounters comes complete with the stock Spielberg wives and girlfriends who seek to tether the dreamy, possessed protagonists to the more mundane concerns of the everyday. So a spectacular, seminal motion picture indeed, but one with gender politics that are all too terrestrial.
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