Discover Why ‘Contact’ is Robert Zemeckis’ Ultimate Masterpiece!

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#1 in my ranking of Robert Zemeckis films.

As a movie enthusiast, I instantly recognize that this film is something extraordinary from the very first frame. The opening scene is unlike anything I’ve ever seen before – it’s unique, bold, crystal-clear, and powerful. It’s as if the director has reached out and grabbed me by the hand, promising an unforgettable journey.

Robert Zemeckis was brought on board to direct after George Miller was let go by the studio. He was given free rein, even over the final cut, and he took what Miller had started to create a cinematic adaptation of Carl Sagan’s novel about extraterrestrial contact. I can’t help but wonder what Miller might have done with it, but pairing Zemeckis with this material feels like the perfect match.

Zemeckis is not only technically inventive in the same league as Spielberg, but he also has a gentle humanism that runs through all his work. However, where he differs from others is in his firm convictions about where stories should go. He doesn’t shy away from taking risks or pushing boundaries to tell a compelling tale.

Let me take a moment to discuss the captivating opening scene of this movie. The camera sweeps back from Earth, gathering speed and venturing deeper into the cosmos, eventually leaving our solar system, galaxy, and even our universe, giving us a sense of how insignificant our world is in comparison. This visual journey is accompanied by the sound of radio waves, which near Earth are filled with contemporary radio and television broadcasts, gradually fading back in time until we can hear the first space-bound television signal. Once that’s over, we experience a profound silence, emphasizing the vastness of space. This breathtaking introduction sets the tone for this remarkable film.

Ellie Arroway is a dedicated scientist working for SETI (Search for Extraterrestrial Intelligence), meticulously scanning distant stars using powerful radio telescopes in search of potential signs of extraterrestrial life. However, her relentless pursuit has been criticized as fruitless by David Drumlin, the president’s science advisor, who controls funding and satellite time allocation. Ultimately, she is let go from her position. Nevertheless, Ellie and a group of supportive colleagues secure funding from Hadden Industries, the investment arm of a large corporation, to continue their research. With this financial backing, they persist in listening to the stars until they begin hearing responses.

Simultaneously with the main narrative, there are two interwoven personal tales. The first revolves around Ellie’s father who passed away when she was nine. Through flashbacks, we witness how her father nurtured her initial curiosity about the cosmos by introducing her to a telescope and a HAM radio. Tragically, he succumbs to a heart attack during one of their stargazing nights, leaving Ellie yearning for answers. She questions the local priest’s explanation of God’s will but continues to long for her father. In desperation, she reaches out to him via her radio.

The second personal story centers on Palmer Joss, a former seminary student who abandoned his religious path due to his inability to renounce worldly desires. He bears a resemblance to Matthew McConaughey, which seems to justify Ellie’s initial physical attraction. However, she finds it difficult to fully commit to him because her interests lie in the cosmos rather than on Earth. Science holds a divine place in her life, and she feels content with this belief system alone.

Discussing a Robert Zemeckis film without mentioning at least one striking individual scene feels incomplete, so let me delve into that now. The initial space signal’s appearance is quite remarkable, truly extraordinary. It arrives as a sequence of pulses, signaling its presence to the world that’s tuned in. Ellie’s rush to reach the command center from an isolated location among the 27 radio telescopes, barking instructions over her radio while her colleagues struggle to keep pace, the crescendoing music, and the tense, hurried attempt to confirm what they’re hearing, create a powerful blend of visual storytelling, editing, and sound design that ranks among Zemeckis’ best single scenes. And this film is only one-third complete, with plenty more impressive moments yet to unfold.

The strange cosmic signal, showcasing intelligence through prime numbers, catches global attention, and surprisingly, the US government appears at Ellie’s peaceful observatory. Drumlin, accompanied by the National Security Advisor Michael Kitz, swiftly takes charge, usurping credit from Ellie, who seems oblivious to the dire situation. Although she perceives it, she fails to grasp the extent to which she must resist. Matters become more complicated when the initial signal’s visual components unveil Hitler’s inauguration at the 1936 Olympics.

This movie cleverly portrays diverse responses globally to a significant announcement, with cults emerging both in favor and against outside the radio telescope facility serving as an intriguing representation of human eccentricity, although they primarily serve as secondary plots. The main focus is on Ellie’s response, contrasted by Joss’s perspective. Ellie observes these people with a blend of compassion, bewilderment, and apprehension. Interestingly, both Ellie and the cult followers are drawn towards Vega, the message’s source, as a beacon of meaning and truth – ironically echoing Joss’s assertions about the lack of such concepts in our science-centric society today. Ellie’s storyline ultimately revolves around humility and faith as she recognizes the boundaries of her own understanding. The narrative mirrors Arthur C. Clarke’s Third Law: “Any sufficiently advanced technology is indistinguishable from magic.

The secret blueprint for an enormous device is concealed within the message, and S.R. Hadden, a wealthy, enigmatic individual similar to Howard Hughes, deciphers the code to reveal it. With global investment amounting to approximately half a trillion dollars, construction of this machine commences. Two candidates, Ellie and Drumlin, are in contention for a single-person capsule. Despite stepping on Ellie’s toes once more, she graciously relinquishes the opportunity to Drumlin, demonstrating her professionalism rather than expressing anger or regret. This is not indicative of any flaw in her character; instead, it reflects her ability to adapt and collaborate within a challenging bureaucratic environment. It would be inconsistent with her character to display emotional turmoil and blame Drumlin while still working on the project, as she remains focused on its successful completion. However, when funding is withdrawn early in the film, she allows herself to express frustration and resentment.

In my perspective as an ardent follower, when a fanatical zealot secretly infiltrates and devastates the accomplished site, along with Drumlin, many believe that a significant sum of money has been squandered on a project that seemed destined for failure. However, Hadden astonishes everyone by arriving with another machine, this one crafted in Japan. Essentially, we received two machines for the original investment. Eventually, Ellie is assigned to pilot this marvel and sent through.

The overall reception for the movie is generally positive, but it often wanes when Ellie arrives at her destination. The journey to this location is both tense and stunningly beautiful. A particularly suspenseful moment occurs when the pod travels through the machine. However, when Ellie reaches a beach reminiscent of a childhood drawing of Pensacola, with an alien appearing as her father, some viewers lose faith in the film. They expected to see an actual alien, not just David Morse. Yet, I believe that Zemeckis followed Kubrick’s lesson from making 2001: A Space Odyssey. No alien will ever meet our expectations based on our imaginations. Instead of focusing on spectacle, as seen in the journey to the beach, Zemeckis emphasizes Ellie’s emotional journey. Her love for space, tinged with her father’s death, is a relatable aspect for the audience. In this moment, millions of light years away from Earth, she reunites with her father. This emotional release resonates with the audience, and we see her journey from a cosmic perspective as the first of many steps (there are echoes of Clarke’s assertion that we are a child race here).

When Ellie returns, she won’t have any tangible evidence of her journey, only her personal account. She can’t verify that what she experienced was genuine, but she feels compelled to persuade others that their investment in the project wasn’t misplaced. Her determination to be believed mirrors Joss’s previous advocations for faith in God, creating an intriguing correlation. Just as Ellie cannot provide evidence for her claims about the machine, Joss can’t prove the existence of God. Given the high cost of operating the machine even once, it’s no wonder people might hesitate to fund another expedition based solely on Ellie’s words.

This movie is remarkably intelligent, tackling intricacy in various aspects. The acting is outstanding, particularly by Jodie Foster as Ellie. It almost manages to evoke awe, which is challenging in itself, while maintaining a coherent narrative flow. This film excels and it might be Robert Zemeckis’ finest work yet.

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2025-01-25 00:31