unforgettableSteven Spielberggpl
Arguably the most important figure to emerge from the creative ferment of Hollywood cinema in the 1970s, Steven Spielberg has changed the way movies are made and about what they are made. He is perhaps the Western world's most famous living filmmaker; three movies he directed ("E.T. the Extra-Terrestrial" 1981; "Jurassic Park" 1993; "Jaws" 1975) are among the top ten highest grossing films of all time. His former production company, Amblin Entertainment, was also responsible for such hits as "Gremlins" (1984), "Back to the Future" (1985) and "Who Framed Roger Rabbit" (1988). Spielberg has succeeded in combining the intimacy of a personal vision with the epic requirements of the modern commercial blockbuster, but his astonishing success invalidated his acceptance as an artist for many years. Marketplace issues aside, Spielberg certainly travels in august creative company: like Orson Welles, he has been celebrated and penalized for precocity; like Alfred Hitchcock, he has been alternately praid and damned as a master of emotional manipulation; and like Frank Capra, he has been criticized for shameless ntimentality. Spielberg's most important spiritual predecessor, however, is Walt Disney, another creative i阴阳太极
ndividual who made himlf into a brand name while attending to the rious business of making "frivolous" entertainments.
Several Spielberg films have become landmarks in the development of special effects, both in their visual and aural aspects. This filmmaker, however, is no technocrat nor does he display a rious intellectual interest in science fiction. Spielberg utilizes elements of sci-fi and fantasy but tends to eschew heavy ideas in favor of sublime feelings, such as childlike awe and trust. Indeed, his work has decisively influenced the emphasis in late 20th Century sci-fi filmmaking on the nsibility of youth and they succeed in spite of blatant ntimentality through the director's masterful u of emotionally potent visual imagery. If nothing el, Spielberg posss an uncanny knack for eliciting and manipulating audience respon.
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Unlike many of his contemporaries, Spielberg did not attend a major university film program. Largely lf-taught, at age 16, he fashioned his first film "Firelight", a two-hour science fiction movie, that a local movie hou in Phoenix, AZ, connted to run for one e舒婷的诗
vening. His short film, "Amblin'" (1969) impresd executives at the television unit of Universal Studios and Spielberg was hired, making his debut directing the formidable Joan Crawford in the TV-movie pilot for Rod Serling's "Night Gallery" (NBC, 1969). He went on to hone his craft helming episodes of such weekly ries as "Columbo" and "Marcus Welby, M.D." as well as three TV-movies. One telefilm, "Duel" (ABC, 1972), about a salesman (Dennis Weaver) pursued by a giant diel truck who driver is never en, was relead theatrically in Europe, where it enjoyed both critical and commercial success.
Spielberg's first theatrical film, "The Sugarland Express" (1974) was bad on the true story of a lumpen Texas woman and her escaped convict husband fighting to regain custody of their baby. The film anticipates the emphasis on family in Spielberg's subquent work; his choreographed car chas and deft handling of suspen and comedy marked him as a director to watch. Poorly marketed, this entertaining and poignant feature failed at the box office. Spielberg's cond, "Jaws", however, helped usher in the modern age of movie blockbusters. This troubled production--a neophyte dir
ector and a disgruntled crew with a malfunctioning automated shark--emerged as a classic adventure yarn that propelled Spielberg to the A-list of Hollywood directors.
His transcendent follow-up, "Clo Encounters of the Third Kind" (1977), revealed the first flowering of his cinematic interest in the world of childhood, an affinity shared with the late Francois Truffaut, who played the head scientist in the film. Though initially terrifying, the alien creatures in this revisionist work remble strange and wondrous children, prenting a more benign reprentation than the monstrous conquerors of 50s sci-fi films. The beings offer the promi of life beyond the restrictions of middle-class conventions. When Richard Dreyfuss boards the mother ship for unknown adventures, it is the film's final grandiloquent embrace of the possible.
Riding high after two back-to-back blockbusters, Spielberg attempted a colossal big-budget comedy. "1941" (1979) was a loud, sprawling and wildly uneven film about paranoia in a small California town after the attack on Pearl Harbor. Though it ultimately turned a profit, the film was perceived as a huge and indulgent flop. Spielberg next cho 小鸭子怎么画
核伙沟>营私舞弊的意思to work under the watchful eye of a tough producer, George Lucas, and fashioned what would turn out to be one of his signature films, "Raiders of the Lost Ark" (1981). The movie introduced the world to Indiana Jones (played by Harrison Ford), the celebrated archeologist and intrepid adventurer that became the most popular screen hero since James Bond and spawned two quels. During the production, Spielberg was so wearied by the rigors of location shooting that he would relax by concocting a story for a little personal film to feature a couple of kids and a lost alien. This t the stage for "E.T. The Extra-Terrestrial"--the work for which Spielberg may well be best remembered. An instant classic, this emotionally overwhelming film transformed its maker's career.
In most Spielberg films, anything that threatens the family and its routine existence is evil. In "Jaws", the normally safe harbor of a public beach is threatened by a great white shark. The heroes of "The Sugarland Express" and the Indiana Jones trilogy are transported from normal life to a world of exciting adventure though, in the former, the conquences are tragic. As a young filmmaker, Spielberg emed to prefer the child's world of harmless adventure (c.f., "E.T.") to the violence and hardships of the real world.
Significantly, Spielberg prented WWII through the eyes of a youthful protagonist in "Empire of the Sun" (1987), a transitional work, and he oversaw an Oedipal fantasy as the producer of "Back to the Future", in which a son remakes his parents from nerds into successful yuppies.
