Great Films You Need To See – Contact (1997)

This is my latest contribution to The Big Picture, the internationally recognised magazine and website that offers an intelligent take on cinema, focussing on how film affects our lives. This piece about Robert Zemeckis’s 1997 sci-fi classic Contact was written as part of The Big Picture’s Lost Classics strand, although I am including it within my list of Great Films You Need To See.

If they ever considered stopping by our planet, aliens should prepare themselves for a rough welcome if our exhaustive list of films featuring malevolent little green men is anything to go by.

Contact ultimately lets us decide for ourselves whether the mysterious signal is the work of an alien intelligence or not. It's a question really of how much you believe

Contact ultimately lets us decide for ourselves whether the mysterious signal is the work of an alien intelligence or not. It’s a question really of how much you believe

Aliens have been many things in the movies, but peaceful is rarely one of them. Even Steven Spielberg, who waved the flag for benevolent beings from outer space in Close Encounters Of The Third Kind (1977) and E.T. The Extra-Terrestrial (1982), ended up making War Of The Worlds (2005). Needless to say, those guys weren’t interested in making music or phoning home.

Robert Zemeckis’ 1997 adaptation of cosmologist Carl Sagan’s novel Contact feels like a riposte to the biggest evil green men movie of them all, Independence Day, which had been released the previous year.

Jodie Foster stars as SETI radio astronomer Dr Ellie Arroway in Contact

Jodie Foster stars as SETI radio astronomer Dr Ellie Arroway in Contact

Ostensibly about the mystery that surrounds a signal of possibly alien origin detected by radio astronomer Dr Ellie Arroway (Jodie Foster), Contact is more concerned with exploring the uneasy relationship that exists between religion, science and politics.

While James Woods’ National Security Advisor Michael Kitz represents the hawkish impulse of authority to control what isn’t fully understood; the push/pull connection shared between Ellie and Christian philosopher Palmer Joss (Matthew McConaughey) suggests that scientific conviction and religious certainty are two sides of the same coin.

Christian philosopher Palmer Joss (Matthew McConaughey) mulls over the role of God in all this in Contact

Christian philosopher Palmer Joss (Matthew McConaughey) mulls over the role of God in all this in Contact

Indeed, the genius of Contact is in the way its obsessive leading character finds herself acting increasingly on faith the closer she gets to discovering the ultimate truth behind what is, potentially, the greatest scientific breakthrough in human history.

Although she doesn’t believe in the afterlife, a revealing moment early on (following the extraordinary opening shot which pulls back from Earth to follow humanity’s radio broadcasts through the solar system, the Milky Way and beyond) comes when a young Ellie asks her father if they can contact her dead mother via radio. This is reflected later in the film when, following an apparent trip to the other side of the universe, she finds herself in heaven, for all intents and purposes.

The 'alien' machine is  made a reality in Contact

The ‘alien’ machine is made a reality in Contact

Foster is perfectly cast in the role of the dogged and inquisitive Ellie. Not everyone can carry off speeches that contain the words “Einstein Rosen Bridge” (aka wormhole) and Foster imbues her lines with a conviction that could have you fooled into thinking she’s Professor Brian Cox’s mentor.

While not the finished Oscar-winning item he would later become, McConaughey brings his good ol’ Southern charm to the role of Joss, who gets to present the other side of the argument without succumbing to Bible-thumping craziness (that role’s taken by Jake Busey’s wildly exaggerated preacher in one of the film’s only missteps).

Dr Ellie Arroway (Jodie Foster) prepares for the ultimate trip in Contact

Dr Ellie Arroway (Jodie Foster) prepares for the ultimate trip in Contact

After incorporating Kennedy, Johnson and Nixon into Forrest Gump (1994), Zemeckis went one better by interweaving footage of sitting US President Bill Clinton’s press conferences into the narrative of Contact.

It’s a gamble that works and adds an extra layer of authenticity to a film that never apologises for wanting to make you think, rather than suggesting you switch off your brain on the way in.

Contact ultimately lets us decide for ourselves whether the mysterious signal is the work of an alien intelligence or not. It’s a question really of how much you believe.

Review – Lincoln

There’s a moment at the start of Lincoln when you fear Steven Spielberg isn’t going to be able to resist going all Amistad on us and clubbing you over the head with the film’s message.

Steven Spielberg's Lincoln

Steven Spielberg’s Lincoln

The scene is thus: following a brief prologue of Civil War carnage involving black and white soldiers (proving that everyone is equal on the battlefield), a black union soldier respectfully gibes the President about inequality. Two white unionists approach separately and in worshipful tones quote Lincoln’s Gettysburg Address (“Four score and seven years ago…”) back to him, but stumble over the final words, leaving it to the African-American trooper to complete the recital before rejoining his company.

On the face of it, this opening four minutes or so brings to mind the sort of heavy-handed approach Spielberg has so often been guilty of in his historical epics. Yet, delve a little deeper and it becomes apparent Tony Kushner’s script and Spielberg’s direction are very cleverly revealing two contrasting perceptions of Lincoln; on one side is the saintly Honest Abe figure common to school textbooks, on the other the crafty politician with a gift for oratory who nevertheless knows that deeds, not words are what’s needed.

Lincoln focuses tightly on the final four months of the Republican president’s life, centring on the politicking and increasingly frantic horse-trading that took place in the darkened corridors of power in early 1865 to secure passage through the House of Representatives of the crucial 13th Amendment to the US Constitution to formally abolish slavery.


Honest Abe (Daniel Day-Lewis) mournfully surveys the battlefield in Lincoln

With the Civil War in its final death throes, time is of the essence for Lincoln, who is worried his 1863 Emancipation Proclamation decreeing that all slaves be freed will be thrown out by the courts once the war is over and the 13th Amendment defeated by the returning slave states of the south. Warned not to do it by those closest to him for fear of tarnishing his revered reputation, the President realises the opportunity could be lost and leans heavily on his colleagues to help him get the vote through.

Needing a two-thirds majority in the House, Lincoln and Secretary of State William Seward (David Straithairn) send lobbyists William Bilbo (James Spader), Robert Latham (John Hawkes) and Richard Schell (Tim Blake Nelson) out to procure the crucial votes of on-the-fence Democrats by any means necessary.

Tommy Lee Jones as fiery Republican Congessional leader Thaddeus Stevens in Lincoln

Tommy Lee Jones as fiery Republican Congressional leader Thaddeus Stevens in Lincoln

Three distinct threads run through the film – the war of words in the House between Democrats and Republican congressmen enjoying the sound of their own voice, the behind-the-scenes machinations, and the strain on Lincoln’s marriage to First Lady Mary Lincoln (Sally Field) – and it’s to Spielberg’s great credit that we never lose focus of any of them.

Kushner’s witty script is necessarily talky, and it pays not to lose attention, but the enormity of the stakes is always clear and the dialogue positively crackles in the hands of probably the greatest cast assembled for any Spielberg film to date.

Tommy Lee Jones, in his best role for years, has a ball as Republican Congressional leader Thaddeus Stevens, a radical anti-slavery advocate who can’t stop himself insulting Democratic leaders for sport, but knows when to keep his cards close to his chest when the need arises.

There’s a levity to the efforts of the lobbyists to curry the Democrats’ favour, although the grave seriousness of their task is not lost, and the vote itself is expertly handled by Spielberg, who ratchets up the tension like the old pro he is.

Daniel Day Lewis as Honest Abe in Lincoln

Daniel Day Lewis as Honest Abe in Lincoln

The ideologically led politics of Lincoln serves as a timely parallel to the entrenched state of today’s American party political system where petty in-fighting and belligerence can often push progress to the sidelines.

It seems appropriate that America’s most beloved President is played by arguably today’s greatest living actor and Daniel Day-Lewis is stupendous in the title role. He plays Lincoln as a kindly uncle who chooses to win people over with an amusing anecdote or a subtle observation and, ever the politician, engages in a lot of hand holding.

First Lady Mary Lincoln (Sally Field) in Lincoln

First Lady Mary Lincoln (Sally Field) in Lincoln

Day-Lewis makes it look effortless, finding a pause here or a change of tone there to give what will probably become the definitive take on this most adored of presidents. It’s a masterclass in the power of knowing when to underplay a role, to the extent that when some of the cast look in awe of the President you wonder whether it’s actually Day-Lewis they are marvelling at.

We see a more vulnerable Lincoln when he shares private moments with Mary, who has fallen apart following the death of their son and begs her husband to stop their other sibling Robert (Joseph Gordon-Levitt) from joining the war effort. Their pained arguments are powerfully wrought, and Field is excellent as a figure who, like Abe, must compartmentalise personal grief for the good of the country.

Despite this being Spielberg’s most mature and discliplined work to date, he still can’t help himself on occasion, whether it be the rather obvious symbolism of a ticking clock and Lincoln glancing at his watch to show how time is running out, or the saccharine moment when the President walks to a window bathed in light upon hearing the vote has been passed.

Bringing to life a significant moment in the turbulent history of the world’s only superpower, who’d have thought a film where little happens for long periods could be this engrossing?