All the movies I’ve seen, good or bad, have been engraved into who I am. Any cinephile can speak to this. They’re transparent tattoos that are a roadmap of my fandom and personality. As I get older and follow the endless yellow celluloid road, more and more are added. Why not start an ode to these lovelies?
This is a film that has an embedded corner in my heart. I saw it young and every time I revisit I am transported. I not only feel like a child, enamored and wondrous, but I remember the first time I saw it and how it made me realize that movies were truly magic.
“Alligators in the sewers.”
Everyone has to have seen E.T. right? It’s almost a prerequisite for any fan of this art form. Steven Spielberg is a master of capturing the essence of youth and the excitement of discovery. It’s a timeless tale about friendship and kindness, in all its odd little otherworldly forms. It’s one of the very real, tangible reasons I am the cinephile that I am.
Henry Thomas plays our lead as Elliott, middle child of Mary (Dee Wallace) with older brother Michael (Robert MacNaughton) and younger sister, the wonderfully charismatic Drew Barrymore.
When E.T. and his family land in California, they accidentally leave him behind. Scared and alone he ends up in Elliott’s shed, making noise before running away, in pursuit by a government agent known only as “Keys” (Peter Coyote). When I was younger, much like the children in the film, Keys seemed intimidating, but as E.T. proves, things aren’t always as they seem.
With the help of some Reese’s Pieces, Elliott comes face to face with the young extraterrestrial. At first they are both scared, but their link runs deeper than just friendship, and thus begins the journey that’ll make you cry, laugh, and ultimately, want to hug this wide-eyed curiosity.
What’s interesting about the power of this film is the fact that, as a viewer, you almost feel like you’re bonded too: a tenuous coupling of souls. This is who we wish to know and wish to be. Masterful. In many ways Spielberg’s others film are more technically impressive, but E.T. is wholly enchanting.
“I’m keeping him.”
Elliott soon realizes he’s in danger and can’t stay. This young entity just wants to be reunited with his family. Elliott’s brother and sister (as well as his friends, eventually) assist in his protection and seek a way for him to contact those outside our world.
The inspiring script by Melissa Mathison and the visuals, shots at a child’s height with wonder and beauty captured by the cinematography of Allen Daviau, follow Spielberg’s sensibilities to all combine in harmonious fashion. It is timeless, tender, invaluable storytelling at its best.
“ I wish, too.”
It isn’t an easy feat despite the kid’s relentless intent and a little bit of flying bicycles as things in the final act become dire.
The music comes together to adhere to the visual narrative, binding it in a way that you can’t imagine one without the other. It’s iconic, and the sound design and creature design make the tale come alive.
It’s a superlative gift to cinema that goes beyond popular culture and resonates with audiences of all ages. E.T. is nostalgic, heartwarming and ultimately unforgettable.
Spielberg has a direct line to our emotions, bringing us vulnerable characters that emulate the best of what people and those unlike us, can be. E.T. The Extra-Terrestrial is a spellbinding foray that reminds us of human compassion and the eternal joy of cinema.
Elliott’s expression when he sees the spaceship or even E.T. himself, that genuine sense of wondrous light, is me everytime I see this film. It doesn’t matter how many times I have witnessed its mastery, I am always left in awe.
It’s why we love movies and why we always will.
IT is magic.
Cinematic Lovelies 
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