Close Encounters of the Third Kind (1977)

Last updated:
July 1, 2025

Steven Spielberg’s Close Encounters of the Third Kind (1977) is one of the most influential science fiction films of all time. It explores themes of human curiosity, communication beyond words, and the profound impact of alien contact. Here’s a detailed deep dive into this cinematic classic.

Table of Contents

Detailed Summary

Strange Phenomena Begin

The movie opens with a series of strange, seemingly disconnected events: a lost WWII squadron is found intact in the Sonoran Desert, a ship appears in the Gobi Desert, and power outages sweep through Indiana. Government scientist Claude Lacombe (François Truffaut) investigates, suspecting extraterrestrial involvement.

Meanwhile, in Indiana, everyday man Roy Neary (Richard Dreyfuss) experiences a close encounter when his truck stalls near a UFO. The blinding light, deafening sound, and strange sensations leave Roy permanently altered. A similar experience happens to a single mother, Jillian Guiler, whose young son, Barry, is later abducted in a haunting, eerie scene.

Obsession and Communication

After the encounter, Roy becomes obsessed with a vision of a mountain-like shape, sculpting it in mashed potatoes and garbage. This obsession strains his family life, leading to a breakdown in his marriage. Jillian, having seen the same shape, eventually teams up with Roy.

Lacombe, using music as a tool of communication, deciphers a series of tones sent by the aliens. These tones, when plotted, form coordinates pointing to Devil’s Tower in Wyoming—the exact shape Roy and Jillian have been obsessively creating. The government, meanwhile, is preparing for a large-scale encounter at this location, secretly evacuating the area.

Climax at Devil’s Tower

Roy and Jillian sneak past military blockades to reach Devil’s Tower. As night falls, the mothership arrives in a spectacular display of lights and sound, initiating the now-famous musical communication sequence. The aliens respond to the human’s tone-based signals in a kind of peaceful exchange of language.

Multiple people, previously abducted (including World War II pilots and Barry), are returned unharmed, ageless and apparently well-treated. The government selects a group of specially trained individuals to board the spacecraft and represent humanity—but in a final twist, Roy is chosen by the aliens. He boards the ship willingly, driven by his overwhelming sense of purpose and destiny.

Movie Ending

The film ends with a transcendent moment: the colossal mothership, having exchanged knowledge and returned its human passengers, ascends into space with Roy aboard, leaving behind stunned scientists and a deeply moved Jillian.

It’s a quiet yet deeply emotional ending—Roy doesn’t say goodbye to his family (they’ve already left him), but he walks toward something greater than himself, fulfilling the vision that has consumed him. The aliens are revealed to be benign and curious, offering Spielberg’s optimistic view of extraterrestrial life. The film closes on a note of wonder, awe, and the idea that first contact doesn’t have to mean war or destruction—it can mean enlightenment and connection.

Are There Post-Credits Scenes?

No, Close Encounters of the Third Kind does not have a post-credits scene. The film concludes definitively with Roy boarding the alien ship and the mothership departing. The credits roll with John Williams’ iconic score, leaving the audience to reflect on the enormity of what they’ve witnessed.

Type of Movie

Close Encounters is a science fiction drama with heavy elements of mystery, psychological tension, and existential awe. It blends grounded human storytelling with the grandiosity of cosmic themes.

Cast

Richard Dreyfuss as Roy Neary
François Truffaut as Claude Lacombe
Teri Garr as Ronnie Neary
Melinda Dillon as Jillian Guiler
Cary Guffey as Barry Guiler
Bob Balaban as David Laughlin

Film Music and Composer

The score was composed by John Williams, whose five-note alien communication melody became iconic. His music underscores the film’s mix of dread, curiosity, and wonder, particularly in the climactic mothership scene—one of the most memorable uses of music in film history.

Filming Locations

Devils Tower, Wyoming: The central visual and symbolic landmark of the film. It represents the unknown, the spiritual, and the draw of the extraordinary.
Mobile, Alabama: Used for the Gobi Desert scene.
Fairhope, Alabama: Home of the Neary family in the film.
India and California: Used in various sequences for international incidents and lab interiors.

These locations lend a grounded feel to the global scope of the story, contrasting ordinary places with extraordinary events.

Awards and Nominations

Academy Award Winner:
- Best Cinematography (Vilmos Zsigmond)
Nominated for:
- Best Director (Steven Spielberg)
- Best Supporting Actress (Melinda Dillon)
- Best Original Score (John Williams)
- Best Art Direction
- Best Film Editing
- Best Visual Effects
- Best Sound
- Best Screenplay

The film was a critical and commercial success, widely praised for its ambition, innovation, and emotional depth.

Behind the Scenes Insights

Spielberg was inspired by his own childhood experiences of looking at the night sky with wonder.
François Truffaut, one of France’s greatest directors, had never acted in English before this film.
The five-tone alien musical phrase was developed after experimenting with dozens of combinations.
The mothership was inspired by oil refineries and upside-down cities.
The interior of the mothership was originally filmed but later cut to preserve the mystery of alien life.

Inspirations and References

Based loosely on UFO sightings and the 1950s UFO craze.
Influenced by government files on Project Blue Book, the U.S. Air Force’s investigation into UFOs.
The term “close encounter of the third kind” comes from Dr. J. Allen Hynek’s classification system for alien contact, and Hynek himself makes a cameo in the film.

Alternate Endings and Deleted Scenes

The 1980 Special Edition adds scenes inside the mothership, showing Roy entering a glowing chamber. Spielberg later regretted revealing too much and removed this in the 2001 Director’s Cut, which remains the definitive version.

The interior scene was controversial—it offered visual spectacle but diluted the emotional impact of Roy’s mysterious journey.

Book Adaptations and Differences

A novelization was released, ghostwritten by Leslie Waller but credited to Spielberg. The book expands on Roy’s inner turmoil and includes more detail about the aliens’ society. However, the film’s power lies in its visual storytelling and ambiguity—qualities that a novel cannot fully replicate.

Memorable Scenes and Quotes

Key Scenes

Roy sculpting the mountain in mashed potatoes: “This means something.”
Barry opening the door for the glowing lights as his mother watches in terror.
The mothership rising over Devil’s Tower with musical dialogue between humans and aliens.
Roy walking into the mothership, fulfilling his vision.

Iconic Quotes

“This means something. This is important.”
“They belong here more than we.”
“We are not alone.”

Easter Eggs and Hidden Details

The R2-D2 droid from Star Wars can be seen upside down on the bottom of the mothership.
Spielberg’s nods to Kubrick’s 2001 in tone and pacing, especially in the use of music and silence.
One scene includes actual UFO report dialogue lifted from real-life sightings.

Trivia

Spielberg reportedly wrote the script without knowing how the movie would end.
The young actor Cary Guffey’s reactions were real—Spielberg used props and tricks to surprise him.
NASA allegedly sent Spielberg a letter urging him not to make the film.
The five-note motif was selected from hundreds of combinations by Spielberg and Williams.

Why Watch?

Watch Close Encounters if you’re drawn to mystery-driven science fiction, deep emotional storytelling, and films that explore the human response to the unknown. It doesn’t rely on violence or conquest, instead focusing on communication, awe, and the idea that our place in the universe might be more connected than we think.

Close Encounters of the Third Kind (1977)