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Show Htp "i te jVygi I r I I i' - Mg j 4E.T. is welcome l- Roger Ebert Chicago Writer When was a kid, I used to Sun-Tim- tfduyme strunye creatures lurk-nt- y outside my bedroom window, and d wish that they'd come into my life und muytcully ihanye it Steven Spielberg Let me take you back to the first public showing of E.T." It is May of 1K82. At the Cannes Film Festival in the south of France, there have already been some pretty good films, including Missing" and but by the dosing night there tias been nothing to really set the festal on fire. Yet excitement is high. I tthe closing-nigh- t film is E.T., The and for once the rdoguls and their ladies have not fcooked themselves onto the early JUghts out of Nice airport. There is 3 seat to be had in the Palais des Festivals, and among the press corps, rumors spread that E.T.is something special. Only one person at Falines has already seen it. A few dSys earlier, Richard Corliss, film ctuic for Time magazine, announced loudly in the hearing of Newsweek critic Jack Kroll that he was off to Flbrence to see an art exhibit. Then he slipped back to New York to see a private screening and write a cover story for Time. Now Corliss is back in tonnes, and all he will say is that the movie is Something special. The lights go down. The famous opening scenes unfold. A little crea-ior- e from outer space is marooned in forest on Earth. Cops with big boots and clanking keys and blinding flashlights go stomping through the underbrush, looking for a UFO. And in a suburban kitchen, kids grab for slices of pizza and then a little kid named Elliott says he thinks there is something in the backyard. i From my seat in the middle of the vast auditorium, I sense a stirring of quiet excitement in the audience. There is something special about this film, a lightness, an absolute of tone. As the movie unfolds, the excitement grows. I have seen audiences ike this before, but not very often; I have felt this kind of excitement during 2001." "Bonnie and lAfra-Terrestrial- ," in new release "Nashville," Taxi Driver," Last Tango in Parts." This is not simply a good movie. It is one of those rare movies that brush away our cautions and wiu our hearts. When the film is over, the audience rises en masse and turns and shouts its approval and cheers. Spielberg, w ho sits in the front row of the balcony and stands up with a silly grin on his face. The Cannes audience is not made up of fans. It is made up of businessmen. They do not cheer easily. Tonight 1 look at their faces and I realize that they have been reduced, for two hours, to just another entranced movie audience that had itself a great time. That sort of enthusiasm was repeated all over the world during the summer of 1982, as "E.T." went on to become, in an astonishingly short film in the histime, the tory of the movies. It was the kind of movie everybody could feel good about. Like "The Wizard of Oz," it was the kind of film each generation could take the next generation to, passing along the experience. And that is no doubt what will happen again as "E.T. opens its first wide-scal- e general release since it finally went out of ciiculation in 1983 (the movie has neve: 'teen released on videocassette). On the day when "E.T," made its world premiere, I talked with Spielberg at the festival. He said a lot of things, but the one comment I remember best is that he wanted to tell the film entirely from a child's point dreo's film as a film that brings out the child in its audiences. In many of the great children's fantasies, a child is selected as the special friend of a magical creature a Peter Pan. for example, or perhaps a cowardly lion. In "E.T.," the magical creature is sort of a child itself, an Infinitely wise one who understands some of the larger secrets of the universe better than such mundane matters as pop-to- p beer cans. Spielberg keeps his point of view level. But resolutely at the child's-ey- e he doesn't condescend. He gives us a exciting story, which is even allowed to contain the possibility of tragedy. And in that moment when E.T. seems to descend into death, and then begins to live again, maybe it s corny that a child's love helped revive him, but can you think of a stronger medicine? "E.T." already has taken in uncounted millions of dollars. It will make more this time around. It is no longer important to count. The movie has won its place on a very short list of timeless, evergreen classics like The Wizard of Oz, and one of the in nicest things about its this summer of 1985 is that a kid who was 3 in 1982, and too young to comprehend it, is 6 now, and old enough to understand E.T.'s homesick dream of calling home. If there is anything better than seeing a movie like this for the first time, its sharing it, the second time around. (E.T.opens Friday in Salt Lake City theaters.) of view. ' "I was thinking," he said, of all those Warner Bros, cartoons from the 1940s, in which the animals (which nu4atinti Clyde," Perfect . I MAT INS GIRLS JUST on 4 (U2 KEVIN KUNE hjJ p -4 I 10:11 THE 3:ie 2:15 7.45 Rid Sant 145 5:50 A 10.00 (PO-11- W 12:00 2:00 4:00 0:00 1:00 10 00 SMg4 Discount Monday: Every FKEVIEW 4 8:30 TQMMMWJ J (200 Aiquits ftSRS. . u J I US' Nlight 9 K AT 8:00 KM. PM 4. OMtfT ea, PALE RIDER SI ill MAD MAX MY MB GUYS' 0F (PG-1- FRIDAY NIGHT ONLY AT 8.00 P.M. MS Based on U B 11 7:00 2:45 MHS Ol '4 60 HARKING 1C VALIDATION WI1H 262 12:20, 2:35 4:45, 7:15, 9:30 FRIDAY 0 AT Ml 4PM 1 y V PUAluOKMlk "COCOON SHOW AT 9:50 vro.dway WILL 5 40, ON FRIDAY! is THE MAN WITH ONE RED SHOE 01 54245215 5. STTTEMURRAY i RkMBO" Sytvostor Stalkm (R) 1:30, 3:35, 6:00, 8:00, 10:00 s BfNJI A TOM HANKS SiElmok Fire true story. BARGAIN MATINEES OAILY. 3:45 Pl MIS MIST WANT to HAVC fun S3 UNITED ARTISTS THEATRES JIMIAHa.IWIIH'iIBfir 5he rc,l!,s VWlll LXWM STARTS FRIDAY! THF ROAD WARRIOR THE EMERALD FOREST 11 BREAKFAST L b MlAAY ((YltlA 0:00 THE C 26S1J tatN COHIT OtMOSCt J 12:30 388 litr D0NTMISSIT! , iEO TNUBOiMHMK Q RED SONJA CUNT EASTWOOD iEEK V ' 2:10 A Join the odventure. i2:5o SthmraAo 5t4S ' ' jj 5:10 7:40 A 10:10 CMPIORSII Silverado , hi; iij i A V 12 10 2.40 Of GhtMllNS WANT TO HAVE FUN TOO 5 MOM Tut DIALOG n Admirer , 466n67HndU?rfl!vOOIH IEl .SKCRET B3 Thursday, July 18, 1985 ' f 32 7611iilestNtflv4 V Q Alt PJ!!3 MM to "IBM : The Salt Lake Tribune, Try. IHtAlkli IUKURY stood for children) lived close to the floor, and the camera stayed right down there with them, and when an adult came intc the frame, all you saw were their feet, legs, maybe a hand with a broom or a shovel or something. It would have been a terrible violation of the child's viewpoint to show the whole adult. And in "E.T." we keep the adults out of the picture, except when they're absolutely necessary." The result is not so much a chil- - tll 1$ - STEVEN SPIELBERG PRESENTS 1 ' '4 . , EMERALD FOREST (R) 1:15, 3:40, 5:50, 8:05, 10:00 "RETURN TO OZ, (PG) ' 1:00, 3:15, 5:30 12:00, 2:20 FRIDAY AT 4:40,7:00,9:20 "BREAKFAST CLUB," (R) 7:45, 9:40 HFASHION4262-942PLACED) a MURRA V Vj 4 6200 So .STATE "LIFE FORCE 1:30,5:30,9:20 (R) VACATON" "FRATERNITY 1:00, 3:30 5:50, 8:00, 10:05 3:30, 7:35 FRIDAY AT M mi ( in T C ENTURYWfftr 1AM ThI ATM ) CITY f OUND THE CAT I WANTED, AND DIDN T 12:30, 2:55 5:20,7:45, 10:10 FRIDAY AT EVEN LEAVE HOME MSI TODAY WANT-AD- S 40. 5 00. 7 25. 9 50 00. 3 20. 5 40. 9 50 dortiy stereo AT 7 Omni CV DAILY WITH 2 20, 2 AT FRIDAY GET RESULTS 237-200- 0 WLLA HIGHLAND Dfi 276-47- 70MM. 6 TRACK DOLBY STEREO 12 20. 2:40. 5 00. 7 30. 10 00 IN ALL SEATS !!M AT "SINGIN IN THE RAIN 7:15 Eleanor Powelt Judy Garland "BROADWAY OF St ATI If Dorrs Day Howard Keel Gene Kelly Debbte Reynolds Tfoo 4161 $ UMIIF MELODY TO WASHINGTON" E4teaal OPEN 9:15 8:30 TWENTIETH Sorry. m Poiaoi Dolby Star o at Sorry No Pants toFUTUOb plus Daily in 70mm. 130. 1.15. 7r00, Dolby Stereo at No Passes! Daily 7 30. 9 45 at 2 05. 4 40. 7.15. 0:50. No Pataatl ffi common? J fGHLANOOP W 1 LTtmy.Uinn Saadeastlai Bountiful 1645 S 500 W GOTCHA . 292 5220 51 ANY TIME rzr MO FAT SAktLAM City STICK,(R) (PG 13) with Burt Reynolds 7:30, 9.30 7:15, 9:30 KMO SOUTH fHSAtatJ 7 00.9 45, Sorry No Pastes1 70mm Stereo at 1130, 2 10. Dolby 4 SO. "JUST i j Midmte Show Fri. & Sat., PGtwiM. v fsoMi ma GuioANct ti rial auy m LOR! A VICTOR DRAI Production SINGER CHARLES DURNING A THE STAN DRAGOTI Film MAN WITH ONE RED SHOE Director of Photography RICHARD H. KLINE. A.S.C. Based upon the Motion Picture Written by FRANCIS VEBER and YVES ROBERT Directed by STAN DRAGOTI sugglstep ss-l Produced by VICTOR ORAI CARRIE FISHER by ROBERT KLANE Screenplay Presents suitaslf ED HERRMANN for fAMILY, CENTER JWlM.TROLLYaM FRIDAY AT 1:35, 3:30, 5:25, 7:20, 9:15 FRIDAY AT 1:20, 3:20, 5:20, 7:20, 9:20 Pink THE AT 0MANN TiT.'iBrl RES 5-6-- DRIVE mmm I Q73 70S8 CVRH'E Uj 7 30. 10 15 OPEN S 30 Of ThTI "MOVING VIOLATIONS" 4:15. 6:00 in Oaily In CtNTURYifH, STARFIGHTER" "BEVERLY HILLS COP" (R)i 2:15. 6:00. 9 45 - Daily 70mm. UST 3HH2 950, Sorry wwoos THE CENTURY FOX DABNEY COLEMAN TOM HANKS JIM BELUSHI Daily in 70mm, 2 00. 4 30, 7:00, it! lames Stewart lean Arthur "MR. SMITH GOES ; 1938" 9:15 the shoe fits. ..beware "CALAMITY JANE 7:15 : THE ONI OUTS" FRIDAY AT 1:15, 3:15, 5:15, 7:15,9:15 OPEN FRIDAY AT 1:00, 3:00, 5:00, 7:00, 9:00 8:30 PLUS "THE FLAMINGO KID" |
