Close Encounters of the Third Kind (Theatrical cut) — A Review

23rd March, 2025: Close Encounters of the Third Kind.

Right … 

It’s not often I watch two films over the course of a weekend.

But?

It’s another quiet night.

And, frankly?

I fancied a film.

Or, at least, another film: having already caught the 2024 version of Nosferatu, in the past few days.

Yes: of course there’s things I’d rather be doing.

But?

I’ll settle for watching a film.

And … ?

Given that I’ve already seen the Director’s Cut?

I felt retreading old ground could be appropriate.

~≈🛸≈~

23rd March, 2025.

Part One: The Summary.

The theatrical cut of Close Encounters of the Third Kind opens with a minimum of opening credits.

Then shifts to the Sonoran Desert: to show us a team lead by Claude Lacombe (François Truffaut), as it finds the remains of Flight 19, a US Navy squad who’d disappeared many years earlier … 

Over the Bermuda Triangle.

The scene shifts to Indianapolis Air Traffic Control: where two planes have just avoided a mid-air collision with something … before shifting again to the small Indiana town of Muncie.

Where we see three year old Barry (Cary Guffey) watching the strange behaviour of his toys in the kitchen, and running away: before his mother, Jillian, stops him fleeing the family home.

Just as a huge power cut affects that area.

A power cut that is causing arguments in the utility company’s HQ: and sees Roy Neery (Richard Dreyfuss) assigned to investigate possible causes in the Indiana back woods.

It’s only when Roy, lost in the rural parts of Indiana, is forced to check his maps, that he realises a few things.

One?

That his fellow road users can be quite rude.

Two … ?

As the electrics of his van have gone, the power cut in the area isn’t something he can solve.

And three?

That the lights in the sky that have flown over him … might have something to do with things … 

~≈🛸≈~

24th March, 2025.

Part Two: Some Questions.

So … what did I make of Close Encounters of the Third Kind?

At least, of the version I watched?

Which one did I watch … ?

Let’s answer that last question, first, shall … ?

A few weeks ago, I caught the Ridley Scott film, Blade Runner: and made sure I caught the original, theatrical, cut.

Yes, I know Scott prefers the more recent Final Cut: as he feels it’s the one most representative of his artistic vision of the film.

But — regardless of any perceived flaws the original cut had — I felt what’s called the international theatrical cut was the most appropriate version to watch and review: as this was the version I originally saw, back in the day.

In the wake of that?

I got hold of a box set version of Close Encounters: one that included 4k and 2k versions of the original cut, the special edition, and the more recent Director’s cut.

I could therefore watch the later versions at my pleasure: having watched the original cut, I therefore have something I can compare them to.

My baseline, then?

Would be the version shown in cinemas in 1977: as I’ve come to believe that — in these situations — that initially aired version is a good place to start.

With that said, I have a thought …

~≈🛸≈~

Part Three: A Thought.

Yes: a thought.

Or a side-step: or possibly an interlude … 

What ever!

I think movies are a lot like fast food restaurants.

We expect to go to any given branch of McDonalds — or KFC, Burger King, what-have-you — and expect to get the same standardised meal.

But we also know that fast food  companies tailor their products for the countries and areas they’re in.

The Israeli branches of McDonalds, for example?   Don’t do cheeseburgers: kosher food rules forbid mixing dairy products with meat.

The UK branches dropped root beer not long after opening their first UK venues.

I worked at KFC, a few years ago: so know that some British branches in muslim-majority areas did bacon-free versions of the range.

So I’m very aware that many Hollywood movies do the same thing.

Have alternative cuts: to make sure a film complies with local regulations and customs.

But I’m very aware that Close Encounters of the Third Kind is very influential: because the changes made aren’t for that reason.

It was influential, and different.

Different in that it was the first film I can remember that got an initial release: in 1977.

Then got a second, re-cut, re-release in 1980: the Special Edition.

Then got a third, home, release as the now standard Director’s Cut, in 1998.

From the little I can tell?

Close Encounters is influential in part, because it’s a good film, whatever version you watch.

But also because it’s the first film to get publicised alternative cuts.

In other words, the recipe’s changed over the years: for artistic reasons.

~≈🛸≈~

Part Four: Moving On.

At any rate, what did I make of Close Encounters of The Third Kind.

Of this version?

The last time I watched the film, it was back in 2015, and was the Directors Cut: then the only version you could find of what’s now Apple’s TV store.

The main difference I could spot?

Was that the Director’s cut includes scenes of a ship abandoned in the Gobi Desert: that this original version excludes.

It also exclude scenes inside the alien mothership scene in the Special Edition.

I missed neither scene.

In a film that’s this much of a spectacle, their lack made no difference.

None what-so-ever.

The finale, after all, is a feast for the eyes: and the story, itself?

A story of how one man because obsessed with what’s happened to him?

And with a place he’s never been?

Is something to watch.

~≈🛸≈~

Part Five: Finally.

So, finally … ?

Did I see a good film?

Should you see it?

What version should you see, if you do?

I think I can say yes: I’ve seen a good film.

Yes, I think you should see it: you’ll see a very enjoyable film, whatever version you see.

And, frankly, I don’t think it matters which version you see.

You’ll see a very enjoyable film, which ever one you watch.

Close Encounters of the Third Kind (Theatrical cut).

★★★☆