1983 00 00 Science Fiction Studies, V 10, I 3 - E.T. as Fairy Tale - Andrew Gordon

Magazine Overview

This document is a review of the film "E.T. the Extra-Terrestrial" published in the journal "Science Fiction Studies," Volume 10, Number 3, in November 1983. The article, titled "E.T. as Fairy Tale," is authored by Andrew Gordon and reviews the film as a work of popular culture.

E.T. as Fairy Tale

Andrew Gordon begins by comparing Steven Spielberg's "E.T." to his earlier film "Close Encounters of the Third Kind." Gordon criticizes "Close Encounters" as an irrational, anti-science fiction film with paper-thin characters and a plot driven by wish-fulfillment, culminating in a quasi-religious ascent. In contrast, Gordon finds "E.T." to be a more acceptable fantasy, despite sharing some superficial similarities like the presence of childlike heroes and villainous scientists.

Gordon attributes his preference for "E.T." to several factors: the characters in "E.T." are more fully realized and human, with the alien itself being the most human. The sentimentality in "E.T." is balanced by humor, unlike the solemnity of "Close Encounters." Furthermore, Spielberg's direction in "E.T." captures a child's visionary perspective, poeticizing the ordinary through intimate and wondrous cinematography, creating scenes with a "sacramental feel."

The article emphasizes that "E.T." functions as children's literature, whereas "Close Encounters" is merely childish. Gordon praises Spielberg and co-scriptwriter Melissa Mathison for crafting a contemporary fairy tale that demonstrates an intuitive grasp of child psychology, creating a new figure in pop mythology akin to Peter Pan.

Gordon places Spielberg's films, including "E.T.," within the context of suburban fantasy, transforming mundane settings into magical ones. He argues that Spielberg's work is akin to Ray Bradbury's in restoring dreams and nightmares to American life, and his cinematic predecessors include Frank Capra and Walt Disney.

Spielberg's films are characterized as "creature features" that blend elements of horror and fairy tales, focusing on the inexplicable intrusion of the extraordinary rather than SF's rationality. Gordon notes that Spielberg's "UFOs" are more akin to folklore and superstition than actual alien visitations, serving as updated versions of trolls, dwarfs, and elves.

The article draws a direct parallel between "E.T." and the Grimm fairy tale "The Frog-King." In both narratives, a creature (the frog, E.T.) is brought into a domestic setting and forms a bond with a child, leading to transformation. While the frog becomes a prince, E.T. remains an alien but transforms the boy, Elliott, into a more loving and mature individual, akin to a "handsome prince."

Drawing on Bruno Bettelheim's theories, Gordon asserts that fairy tales offer psychological truths and reassurance. "E.T." is deemed the most artistically successful of Spielberg's suburban fantasies because it adheres closely to the classic fairy-tale pattern and is psychologically profound, unlike "Close Encounters" and "Poltergeist," which lack psychological depth.

Gordon further explores the "eternal child" archetype, as defined by C.G. Jung, which represents both the past unconscious state and future potential. E.T., as an "eternal child" or "child god," symbolizes a union of opposites and a bringer of healing. The film's imagery, such as E.T. emerging from darkness with a glowing finger, evokes religious connotations, particularly referencing Michelangelo's painting of Adam.

The article highlights E.T.'s childlike characteristics—his clumsiness, his tendency to put inedible objects in his mouth, his intense but changing moods—which endear him to the audience and evoke feelings of nurturance. E.T.'s development on Earth mirrors a child's progression from gestures to language mastery.

E.T. is also presented as a divine being, descending to Earth, misunderstood, and experiencing a Christ-like cycle of torment, death, and rebirth. His psychic powers, including telepathic empathy and a "healing touch," further emphasize his divine nature. The film subtly integrates religious themes, focusing on human warmth rather than overt pretension.

Gordon discusses E.T.'s role as Elliott's alter ego and magical double, sharing initials and a telepathic connection. The separation of E.T. and Elliott at the film's end is described as wrenching but necessary for Elliott's growth from a friendless boy to a heroic leader.

Spielberg's personal reflections reveal that Elliott was inspired by his own childhood feelings of loneliness and a desire for a friend. The film's appeal is linked to children's need for imaginary playmates and the fantasy of omnipotence. E.T. also represents the liberation of Elliott's libido, connecting to the child god archetype associated with Bacchus and Eros.

The article interprets the latter part of the film as a potential "nightmare of castration anxiety" as authorities attempt to separate Elliott from E.T. However, Elliott resolves this Oedipal crisis, returning E.T. to the "mother ship" for safety.

Spielberg likens the "mother ship" and the concept of "Mother Night" to a comforting maternal presence, reminiscent of Disney's "Fantasia." The film's ending, like "Close Encounters," involves a retreat into this maternal womb, contrasting with "Poltergeist," which explores the terrifying consequences of such a retreat.

Gordon concludes that "E.T." is a maturational fantasy that recapitulates stages of psychological development, appealing to a broad audience on multiple levels. It is seen as a story about love and a journey to find one's "Home."

Recurring Themes and Editorial Stance

The journal "Science Fiction Studies" consistently engages with the critical analysis of science fiction and related genres. This particular issue focuses on the intersection of science fiction, fantasy, and fairy tales, as exemplified by the analysis of Spielberg's "E.T." The editorial stance appears to be academic and analytical, dissecting popular cultural phenomena through literary and psychological lenses. Themes explored include the nature of fantasy versus science fiction, the role of archetypes in storytelling, childhood psychology, and the symbolic meanings embedded in popular films. The journal aims to provide in-depth critical perspectives on works within and adjacent to the science fiction genre.