E.T.

This year, the Pearl Anniversary (30th) falls upon one of American cinema’s most groundbreaking and poignant contributions. It has been hailed as the standard of a genre it largely created, celebrated as a work of brilliance in storytelling, special effects and such now-common film nuances as branding. There could only be one E.T.

His face was modeled after the poet Carl Sandburg and the genius Albert Einstein. Ever since he found his way into young Elliot’s closet, the heartwarming tale of the wayward alien and a young boy has, like its aesthetic inspirations, always been both poetic and genius. Like every good story, it emanated from the recesses of a creative maestro. That maestro was Steven Spielberg. Upon the divorce of his parents in 1960, Spielberg filled the emotional gap with an imaginary alien sidekick, a “friend who could be the brother I never had and a father that I didn't feel I had anymore." As the director helmed Raiders of the Lost Ark in Tunisia, boredom overtook him, leading way to memories of his childhood friend. Testament to an artist’s torment, the tentatively titled A Boy’s Life simply had to be made.



The entire film was shot from a low camera angle to portray the vantage of young Elliot and his sister Gertie (future Hollywood royalty Drew Barrymore), and instantly became the symbol of “what to do” in terms of creating an all-ages friendly blockbuster. There was the concept of allowing unknown children and the mythical creature to be the true stars (Harrison Ford played the school principal, but his only scene was cut; E.T. was portrayed by a 2’10” actor, his voice partially by actress Debra Winger). Then there was the product placement that turned Reese’s Pieces into an instantly recognizable brand (rumors endure of a bidding war between Reese’s and M&M’s). Lastly, there was the Disney-esque feel (with the exception of Elliot’s mother, no adults appear until much later in the film) while waging themes of adult issues such as war, peace, and the loss of innocence.

E.T. would hold the trophy as the world’s top grossing film of all time until Spielberg would later best himself with Jurassic Park. The film is ranked as the sixth best movie of all time by AFI, and catapulted its director and much of the cast into household names. Much like the Nike Swoosh and McDonald’s Golden Arches, the image of Elliot on his bike, peddling away against the backdrop of the moon as E.T. sits on the handlebars, has become an international symbol that translates to all languages. At the heart of it all, beyond the glitter, E.T., in its thirtieth year, endures as a landmark work of art that transcends generations.

Phone home.