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This is where Close meeting of the Third kind of segues into a family drama territory, and where Spielberg risks losing its audience. Neary in obsessive behavior clearly marks him if only temporarily, as unlikeable, self-centered character. Almost lose their jobs with the utility, and thus its social status in the neighborhood. Spielberg clearly signals Ronnie, as the care of social status and desire for (suburban) a normal life, making it less than sympathetic character. Spielberg, however, makes personal and social costs Neary in understandable obsession: his children to move quickly from incomprension seeks to anger and despair. But Spielberg clearly drives audience sympathy to the Neary and artistic expression of his obsession. As Neary is completing a massive sculpture in his living room, moving his family from the center of his life is full, so literally and figuratively.

Neary, however, is not alone in its quest vision. Others were caused by the aliens (for what purpose, however, remains unclear). Enter Jillian Guiler (Melinda Dillon), one mother who lives with her son Barry (Cary Guffy) in a semi-rural area. They also face the unseen aliens, but Spielberg stresses uncertainty about the actions of foreigners: their arrival heralded by activating Barry in toys, which, in turn, adds a layer of discomfort and anxiety at the scene. Foreigners seem to be interested in luring Barry play outside with them. As he disappears into the surrounding forests, Jillian gives prosecute only cross the road with Neary, as he holds UFOs around a bend in the road. Barry safety, however, was compromised, and the second visit of foreigners, this time played for horror (with glowing red lights burning through the windows and keyholes), led to his abduction. Again, the reasons for foreigners action remains uncertain, with no response disturbing.

But the audience got an advantage over the two leads: the opening scene introduced audiences Lacombe (Francois Truffaut), French scientist who leads a secret intergovernmental agencies seek direct contacts with foreigners. The organization, with assistance from the United States military (apparently under the auspices of the United Nations) has decided to withhold information from the American public about alien visits (or their dubious intentions), as well as a coded message from the aliens, which is to the attention of scientists potential meeting. For this secret runway was built at the coordinates specified in the message, based on the Devil’s Tower, the same site of Neary and Jillian in visions. In a secret organization, reflecting Spielberg’s own predilections, had already decided to make mistakes on the side of cautious optimism. Spielberg has little room for the cold war pessimism reflected in other science-fiction films of the era. Even the secret organization of the decision to withdraw the information shows, in the worst case, agnostically (their good intentions only to allow for flexible criticisms of Neary and later Lacombe, who acknowledges that Neary and the others were “called” Devil’s Tower for their visions, and therefore should be able to make contact with aliens).

Neary and Jillian, were reunited after the death of his family (and nearly his sanity) for his obsession, and the loss of her son in the kidnapping of a foreigner, must find their way through a series of roads literally: in order to clear the people near Devil’s Tower, in the armed forces of the United States have created a suitable rationale for the accidental release nerve gas. Neary and Jillian will also have to overcome their doubts, but it is not surprising that their meeting with the military (in full hazmat suits) leads to a temporary separation, and then fly to the mountain on foot, as darkness falls. From there, close the meeting of the Third Kindenters the metaphysical sphere, with Neary accession to the scientists, technicians and government agents, the witnesses, and then participated in the first “official” multi-service contacts. This sequence, the longest of the film is almost 35 minutes and lifted inside the aircraft hangar repaired in Alabama ended with the arrival of an alien mothership. She obliged with a minimum of dialogue, as people try to communicate with foreigners through music (John Williams). This sequence is more than likely inspired by Stanley Kubrick in 2001 (Douglas Trumball, Spielberg in the special effects supervisor, held similar responsibilities for Kubrick in the 1968 film). As one character puts it, “They taught us a major tonal vocabulary and today, the first day of school.” Here, light, color, sound, music, movement and collectively create what some critics described as a “pure cinema, cinema that bypassing logic and reason to attract audiences at the emotional, and therefore, nonrational / spiritual level. In close meetings of the Third kind, but pure cinema primarily used as a supplement to the Neary personal travel outside the meaning behind his vision, a path that ends with the physical and metaphorical flight inside the alien mothership in the night sky and the unknown ( perhaps unknowable) destination.

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