Released in 1977, Close Encounters of the Third Kind was Steven Spielberg’s first major foray into the subject of alien contact, a theme that would become a recurring fascination in his career. Arriving the same year as Star Wars: A New Hope, it stood apart by taking a more grounded, awe-filled approach to the science fiction genre. Rather than focusing on intergalactic battles or fantastical space travel, the film turned its gaze to Earth, exploring how ordinary people might react to the extraordinary event of encountering extraterrestrial life. It remains one of Spielberg’s most personal and enduring works, blending human drama with a deep sense of mystery and wonder.
The Concept of the “Third Kind”
The title comes from the UFO classification system developed by astronomer and ufologist J. Allen Hynek. In this system, a “close encounter of the third kind” refers to direct contact with alien life forms. Spielberg, fascinated by UFO sightings and the possibility of extraterrestrial visitation, used this framework to craft a film that would present aliens not as invaders, but as beings to be understood and, ultimately, welcomed.
This perspective was a sharp departure from the dominant tone of mid-20th-century sci-fi, which often depicted aliens as threats to be repelled. Spielberg’s vision was more optimistic—rooted in the belief that curiosity and communication could bridge even the vast gulf between species.
A Story Grounded in the Ordinary
At the heart of Close Encounters of the Third Kind is Roy Neary, played by Richard Dreyfuss. Roy is an ordinary man—a power company lineman living a typical suburban life—until a mysterious encounter changes everything. While responding to a blackout one night, Roy sees a UFO up close. From that moment on, his life is consumed by visions and compulsions he cannot explain.
His obsession manifests in a strange, recurring image: a mountainous shape that he feels compelled to recreate in increasingly elaborate forms. This obsession strains his marriage, distances him from his children, and isolates him from his community. Dreyfuss gives a deeply human performance, portraying both Roy’s sense of wonder and the painful unraveling of his ordinary life.
Running parallel to Roy’s story is that of Jillian Guiler, played by Melinda Dillon, whose young son Barry is abducted by mysterious lights and sounds that fill their home one night. Jillian’s journey intersects with Roy’s as they both pursue the truth behind their experiences, drawn toward the same destination: the mysterious shape from their visions.
Government Secrecy and the Global Search
While Roy and Jillian struggle to understand their experiences, the film introduces a separate thread involving French scientist Claude Lacombe, portrayed by François Truffaut, and his interpreter David Laughlin, played by Bob Balaban. Lacombe is part of an international effort to investigate UFO sightings and unexplained phenomena occurring around the globe.
This subplot broadens the scope of the story, showing that the events affecting Roy and Jillian are part of a larger, coordinated mystery. Lacombe’s team uncovers clues ranging from mass sightings to the reappearance of ships and aircraft long thought lost. One of the most iconic early sequences shows the sudden discovery of the SS Cotopaxi—missing since the 1920s—resting in the middle of the desert.
The government’s role in the film is deliberately ambiguous. While they are actively studying the phenomena, they also go to great lengths to keep the public away from the climactic meeting site. This secrecy sets up the final act, where the personal journeys of the characters converge with the scientific and governmental response.
The Pull Toward Devil’s Tower
The shape that haunts Roy and Jillian turns out to be Devil’s Tower, a striking natural monolith in Wyoming. In one of the film’s most memorable sequences, Roy constructs a massive model of the mountain in his living room, his obsession now undeniable to his family. The image of the towering clay sculpture has become an iconic representation of the consuming nature of his quest.
For Spielberg, Devil’s Tower provided the perfect focal point for the story—a real, Earth-bound location that feels otherworldly. Its stark, imposing form rising out of the Wyoming plains is both majestic and mysterious, a fitting meeting place for human and alien worlds.
The Final Act: Communication Beyond Words
The climax of Close Encounters of the Third Kind is one of the most memorable and distinctive endings in science fiction cinema. At Devil’s Tower, scientists, military personnel, and a few civilians—including Roy and Jillian—gather for humanity’s first formal meeting with an alien race.
What makes this sequence so powerful is its emphasis on communication rather than conflict. The aliens and humans exchange a simple five-note musical motif, accompanied by light patterns—a language of sound and color that transcends words. This musical dialogue, composed by John Williams, is instantly recognizable and perfectly captures the film’s theme: that curiosity, art, and openness can bridge even the most profound divides.
In a deeply emotional moment, Barry is returned unharmed to Jillian, and Roy—now fully committed to his journey—volunteers to board the alien ship. His decision reflects a willingness to leave everything behind in the pursuit of discovery, making him both a tragic and aspirational figure.
Spielberg’s Vision and Style
Spielberg’s direction in Close Encounters blends the grounded realism of a domestic drama with the spectacle of science fiction. He roots the extraordinary in the everyday, showing UFOs over quiet rural roads, strange lights interrupting a family dinner, and awe-inspiring events framed through the eyes of ordinary people.
His use of light is particularly striking. UFOs are often represented not by detailed models, but by blinding, mysterious glows. This approach makes the alien presence feel both wondrous and unknowable. The special effects, supervised by Douglas Trumbull, were groundbreaking at the time, using a mix of practical models, optical effects, and innovative cinematography to create convincing and magical imagery.
John Williams’ score is another essential component of the film’s impact. The five-note motif is simple but evocative, a sonic handshake between species. Throughout the film, Williams uses music to heighten the emotional pull of discovery, awe, and longing.
Themes of Obsession, Faith, and Connection
While Close Encounters of the Third Kind is often remembered for its special effects and iconic music, its enduring appeal lies in its themes. At its core, the film is about the transformative power of wonder. Roy’s journey, though it costs him his family and his old life, is driven by an unshakable belief that something extraordinary awaits him.
The film also examines the fine line between obsession and faith. Roy’s visions and compulsions alienate him from those around him, yet they ultimately lead him to a place where his experience is validated. Spielberg leaves it to the audience to decide whether Roy’s sacrifice was worth it, adding a layer of ambiguity to the otherwise uplifting finale.
There’s also a strong undercurrent of connection—between individuals, across cultures, and between species. The human-alien meeting is framed not as an invasion, but as a moment of mutual curiosity and respect.
Legacy and Influence
Close Encounters of the Third Kind was a critical and commercial success, earning multiple Academy Award nominations and solidifying Spielberg’s reputation as a master storyteller. It influenced countless other films, television shows, and works of science fiction that followed, particularly in its portrayal of aliens as mysterious but not necessarily hostile.
Its legacy also lies in its emotional resonance. For many viewers, the film captures a sense of childlike awe—a belief that the universe is vast, mysterious, and full of possibilities. In an era when alien encounters in fiction often leaned toward fear and destruction, Close Encounters dared to imagine a different outcome: one of openness, peace, and shared wonder.
Conclusion: A Masterpiece of Hopeful Science Fiction
Decades after its release, Close Encounters of the Third Kind remains a singular work in the science fiction genre. It combines human drama, mystery, and visual spectacle to tell a story that is as much about inner transformation as it is about extraterrestrial contact.
By focusing on communication, curiosity, and empathy, Spielberg created a film that continues to inspire audiences to look up at the night sky and wonder what might be out there. In a cinematic landscape often dominated by conflict-driven narratives, Close Encounters offers a refreshing and enduring vision: that our first meeting with another intelligent species could be one of understanding and harmony.
