The Missing Emotional Core in Spielberg’s Sci-Fi Movies
Summary
In this Q&A text, we discuss Steven Spielberg’s upcoming movie “Lincoln” and his three different types of movies that he makes. We dive deeper into his science fiction movies and the missing emotional core in them. We compare it to his classic movie “Close Encounters of the Third Kind” and discuss how good science fiction should work at both literal and metaphoric levels.
Table of Contents
- Spielberg’s Types of Movies
- The Emotional Core in Close Encounters
- The Metaphor in Science Fiction
- War of the Worlds and the Missing Emotional Subtext
- The Importance of Casting
Introduction
Steven Spielberg is undeniably one of the most successful and impactful directors of our time. With a career spanning over several decades, he has given us numerous classic movies across various genres. In this Q&A, we’ll delve into one aspect of Spielberg’s movies and explore why the emotional core is missing from his science fiction movies.
Spielberg’s Types of Movies
Q: Steven Spielberg makes three different kinds of movies, as stated in the input text. Can you explain what they are?
A: Yes, Spielberg makes historical epics, emotional movies, and science fiction movies. For example, “Lincoln” would be a classic Spielberg historical epic, while “War Horse” can be classified as an emotional movie. In contrast, movies like “Close Encounters of the Third Kind” and “War of the Worlds” would be considered science fiction movies.
The Emotional Core in Close Encounters
Q: How does “Close Encounters of the Third Kind” differ from Spielberg’s other science fiction movies?
A: “Close Encounters of the Third Kind” is a classic example of Spielberg’s impeccable direction and storytelling. The movie works at both a literal and metaphoric level. At its core, it revolves around a family’s struggle to stay together amidst an alien invasion. It explores the father’s obsession and neglect of his family, which ultimately leads to him leaving them. The mother’s strength and resilience in coping with the loss of her child drives the emotional heart of the movie. The metaphorical interpretation of the movie lies in the dissolution of the family in a changing society, especially in the 1970s when it was made.
The Metaphor in Science Fiction
Q: Can you explain what you mean by “science fiction is secretly about the dissolution of a family”?
A: Science fiction works by exploring society’s fears and anxieties. It takes the familiar and twists it, presenting it in a new and terrifying way. But at its core, science fiction is always about us, about who we are, and the challenges we face. The best science fiction movies also explore family dynamics and relationships. They showcase how a family adapts to change and cope with adversity in perpetually changing situations. Good science fiction should work on both a literal and a metaphorical level and enable the audience to identify with the characters on screen.
War of the Worlds and the Missing Emotional Subtext
Q: How does “War of the Worlds” differ from “Close Encounters of the Third Kind” in terms of emotional subtext?
A: Spielberg’s “War of the Worlds” tries to explore emotional subtext through the character of Tom Cruise, a father who is not connected with his family anymore. However, the movie fails to resonate emotionally. The problem lies in the casting of Tom Cruise, who inevitably brings his own persona to the movie. Audience members can’t see him as a schlubby father, which destroys the emotional subtext. Instead, the movie is more focused on action, making Tom Cruise’s character the hero who saves the day, and ultimately defeating the aliens. This undermines the emotional impact of the movie.
The Importance of Casting
Q: Do you think casting plays a role in the emotional impact of a movie?
A: Casting is vital in creating an emotional impact in a movie, and the wrong casting can significantly harm the movie’s emotional resonance. Spielberg’s decision to cast Tom Cruise in “War of the Worlds” was an example of this. In contrast, casting Philip Seymour Hoffman or someone who is not the conventional hero type might have made the movie work better. As viewers, we would be more likely to identify with a flawed, everyday person than with an action hero.
Conclusion
In conclusion, Spielberg has always been a master of storytelling and direction. However, in his science fiction movies, he needs to focus more on the emotional core and less on the thrill of the action. Good science fiction should work on both a literal and metaphorical level, and casting plays a crucial role in creating emotional resonance. We hope that Spielberg will consider our suggestions and bring back the emotional depth and resonance that is missing from his science fiction movies.
