Die unheimliche Begegnung der 3. Art
Originaltitel: Close Encounters of the Third Kind
Nach einer zufälligen Begegnung mit außerirdischen Raumschiffen folgt ein einfacher Mann einer Reihe von übernatürlichen Hinweisen zum ersten vereinbarten Treffen von Vertretern der Erde und... Alles lesenNach einer zufälligen Begegnung mit außerirdischen Raumschiffen folgt ein einfacher Mann einer Reihe von übernatürlichen Hinweisen zum ersten vereinbarten Treffen von Vertretern der Erde und Besuchern aus dem Kosmos.Nach einer zufälligen Begegnung mit außerirdischen Raumschiffen folgt ein einfacher Mann einer Reihe von übernatürlichen Hinweisen zum ersten vereinbarten Treffen von Vertretern der Erde und Besuchern aus dem Kosmos.
- 1 Oscar gewonnen
- 16 Gewinne & 40 Nominierungen insgesamt
François Truffaut
- Claude Lacombe
- (as Francois Truffaut)
Warren J. Kemmerling
- Wild Bill
- (as Warren Kemmerling)
Handlung
WUSSTEST DU SCHON:
- WissenswertesDuring the Neary dinner scene, just before Roy piles on the mashed potatoes, the little girl Silvia (Adrienne Campbell) says: "There's a dead fly in my potatoes." This was unscripted and almost caused the rest of the cast to laugh. The scene was kept as-is.
- PatzerThe coordinates received by the scientists (40°36'10" N, 104°44'30" W) aren't very close to Devils Tower at all. The coordinates are actually in a farm paddock about 200 yards east of hwy 85, half way between the towns of Pierce and Ault, Colorado (17mi [27km] east of Ft. Collins, Colorado), 276 miles (444 km) due south from the Devils Tower monument (they got the north latitude wrong by 4 degrees, it SHOULD have been 44°35'25"N. In addition the longitude is incorrect, it should be 104°42'54"W)
- Zitate
Project Leader: If everything's ready here on the Dark Side of the Moon... play the five tones.
- Crazy CreditsNear the end of the credits it starts to reads as follows: "During the filming of all animal sequences, H.L. EDWARDS, Veterinarian of Gillette, Wyoming, was in attendance at all times to aid the filmmakers and the anesthetist in proper treatment of the animals used, and at no time were the animals harmed or mistreated in any way."
- Alternative VersionenA print of the film screened at the American Cinematheque (Los Angeles) several times features most of the Special Edition's edits, but also includes the Roy's tree-tossing sequence and his climb through the window. What's missing from this version is all of the footage from inside the spaceship.
- VerbindungenEdited into The Dream (2010)
- SoundtracksChances Are
Words and Music by Al Stillman and Robert Allen
Performed by Johnny Mathis
Published by International Korwin Corp.
from the Columbia Records album "Johnny Mathis' All-Time Greatest Hits"
Ausgewählte Rezension
An amazing film, one of my favorites. I watch this regularly, especially at times when the reality of life is overwhelming, just to refocus and regain some sense of perspective.
Everything in this film works toward one end: to transform the adult sense of fear back into the childlike sense of wonder at the world. From the very opening moments of the film, designed to create confusion and startlement, this movie creates a sensation of dread and foreboding. The dissonance of the soundtrack, the juxtaposition of images, they all are working to build into the viewer a feeling that something just isn't right, that something out of the ordinary is taking place, and underscoring this all with a sense that this is something to resist, to pull away from, to not allow it to affect one's "ordinary life."
But as the movie progresses, the tone begins to shift, and the true intent of the film begins to peek through. This isn't about being afraid of the unknown, but rather embracing it. Paying attention to the "subliminal images" in life, allowing them to lead you into something unknown and perhaps dangerous, only then can one be open to wonder and experience the world through the magical eyes of a child.
Dreyfuss' character takes us on this journey, met with resistance all along the way. His wife, his neighbors, his job, his community, all are working against him, and it's only when he's reached his craziest that he truly gives in and begins to stop trying to understand and instead embraces the experiences in store for him. The scientific community is seeking to understand, but without having any personal calling to be involved. Only Barry is truly able to throw himself into the strangeness that is taking place, and his enthusiasm is greeted by both the characters and the audience as somehow alien and threatening.
The ending of this film, when all the fear is finally stripped away and the sense of amazed wonder overtakes everyone on the screen and in the audience, brings about an amazing catharsis. Discarding all the "adult" sensibilities and being able to approach life once again with a sense of innocent amazement for the Strange hidden amongst the Ordinary, one can begin again to approach life from a fresh vantage point.
Powerful, mystifying, and rejuvenating. I highly recommend this film for anyone jaded with life and seeking a sense of renewal.
Everything in this film works toward one end: to transform the adult sense of fear back into the childlike sense of wonder at the world. From the very opening moments of the film, designed to create confusion and startlement, this movie creates a sensation of dread and foreboding. The dissonance of the soundtrack, the juxtaposition of images, they all are working to build into the viewer a feeling that something just isn't right, that something out of the ordinary is taking place, and underscoring this all with a sense that this is something to resist, to pull away from, to not allow it to affect one's "ordinary life."
But as the movie progresses, the tone begins to shift, and the true intent of the film begins to peek through. This isn't about being afraid of the unknown, but rather embracing it. Paying attention to the "subliminal images" in life, allowing them to lead you into something unknown and perhaps dangerous, only then can one be open to wonder and experience the world through the magical eyes of a child.
Dreyfuss' character takes us on this journey, met with resistance all along the way. His wife, his neighbors, his job, his community, all are working against him, and it's only when he's reached his craziest that he truly gives in and begins to stop trying to understand and instead embraces the experiences in store for him. The scientific community is seeking to understand, but without having any personal calling to be involved. Only Barry is truly able to throw himself into the strangeness that is taking place, and his enthusiasm is greeted by both the characters and the audience as somehow alien and threatening.
The ending of this film, when all the fear is finally stripped away and the sense of amazed wonder overtakes everyone on the screen and in the audience, brings about an amazing catharsis. Discarding all the "adult" sensibilities and being able to approach life once again with a sense of innocent amazement for the Strange hidden amongst the Ordinary, one can begin again to approach life from a fresh vantage point.
Powerful, mystifying, and rejuvenating. I highly recommend this film for anyone jaded with life and seeking a sense of renewal.
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Details
- Erscheinungsdatum
- Herkunftsländer
- Offizieller Standort
- Sprachen
- Auch bekannt als
- Close Encounters of the Third Kind
- Drehorte
- Devils Tower National Monument, Wyoming, USA(Devil's Rock)
- Produktionsfirmen
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Budget
- 20.000.000 $ (geschätzt)
- Bruttoertrag in den USA und Kanada
- 135.189.114 $
- Eröffnungswochenende in den USA und in Kanada
- 1.767.758 $
- 3. Sept. 2017
- Weltweiter Bruttoertrag
- 306.889.114 $
- Laufzeit2 Stunden 18 Minuten
- Farbe
- Seitenverhältnis
- 2.39 : 1
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Oberste Lücke
By what name was Die unheimliche Begegnung der 3. Art (1977) officially released in Germany?
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