The ancient Greeks created drama to heal the soul, especially that of soldiers returning from war who had trouble reintegrating into society. The purpose of drama, then, is to cure our spiritual wounds; to enlighten and relieve the viewer of his burden. A beloved tale that has been received as one of the greatest films of all time, "E. T. the Extraterrestrial" is a movie with true heart. Steven Spielberg's classic is wonderfully shot, perfectly plotted, and includes his legendary timing, which he turned into a storytelling science. "E. T." carries true depth in its screenplay, as it presents the value of childhood traits that we often lose as we mature. Please see the movie before reading this review, as I will endeavor to explain its meaning.
"E. T." is a clear reminder that miracles happen to those who reserve judgement in exchange for a lack of bias. A portrayal of the quality of innocence, it would absolutely take the love and imagination of a child to be able to befriend a stranded extraterrestrial; a feat that any normal adult would never achieve, as they are usually engrossed in their massive egos and the minutiae of their status in society. This movie is about relating to someone incredibly different, and John Williams' legendary touch calms the mind and the pace of what would otherwise be a horror flick, especially for younger viewers. His score creates a bond between the audience and the monstrous extraterrestrial, which allows us to empathize without prejudice.
Using the truths that difficulty brings us together and that the people we love are the paramount experience in our lives, Spielberg demonstrates vividly how important meaningful relationships are, especially when we are isolated. The extraterrestrial in "E. T." embodies the same passion and innocence which nurtures him, and there is great symbolism in his turning deathly ill: the purity of childhood cannot survive without support; without the structure of a "Home", which "E. T." constantly cries out for. His death while under adult supervision is deeply meaningful, and a slap in the face of so many heartless adults across the planet. Fortunately, the protagonists' declaration of unconditional love basically resurrects "E. T.". The boy's acceptance of death and separation frees his spacefaring friend spiritually, symbolizing an overcoming of his prior, incessant clinginess. This act heralds the discovery of self-esteem in Elliott at what is probably the saddest moment in his life. This newfound faith in himself allows the purity of childhood to transcend his sprouting maturity, no longer forcibly, but now organically.
Because the actors in "E. T." genuinely feel and honestly live the moments in this movie, they allow us, the viewer, to empathize and even cry. This is a feat of true drama which we see rarely nowadays. Notice, also, how the movie truly has no villains: the ability to portray characters as human and flawed, but not inherently evil was the achievement of our grandfather's generation, and can be seen in countless plays from before the seventies. The "evil" government agent, who chases "E. T." throughout the movie, is effectively searching for his lost, magical childhood. Despite his best efforts, he ends up killing it in captivity, because, a jaded adult cannot reignite lost innocence. He is, nonetheless, redeemed by Elliott, as the boy revives the spirit of youth, not only in his siblings, but also his mother and the teenagers of the community (as presented in their witnessing the UFO).
The conclusion is that we can all foster the wonderful and energetic innocent in our soul, no matter how old we get. Acceptance of that spirit hands us immense power, and the "E. T." car chase in the film embodies it: a race to experience childhood before it gets taken away. "E. T. the extraterrestrial" teaches us to love indiscriminately; a lesson of paramount importance, especially in a time of incredible hatred, distrust and prejudice. Regarding Neverland: We can never really return to that paradise, but we have the responsibility of fostering it in others.
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