Indiana Jones: Raiders of the Lost Ark - 1981

Indiana Jones Poster Set
27 in. x 40 in.

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Spielberg's thrilling, entertaining homage to 1930's cliff-hanging adventure serials/films at Saturday matinees. One of the greatest action films ever made - led to a trilogy. Mid-1930s, pre-WWII comic-bookish, globe-trotting, bull-whip toting adventurer/archaeologist Dr. Indiana Jones (Ford) searches for rare antiquities. The film's opening sequence is a white-knuckled experience in a South American rainforest and cave with poisonous darts and a threatening boulder. In a race with the Nazis, dashing Dr. Jones is enlisted to locate the Biblical Ark of the Covenant before the evil agents of Hitler use its powers to win the war. From Nepal to Cairo, the self-effacing hero is aided by tough, hard-drinking, spunky and feisty ex-girlfriend Marion Ravenwood (Allen), as he escapes one life-threatening situation, fight, scrape, and chase after another - especially venomous snakes and the mysterious wrath of God in its finale.

Close Encounters of the Third Kind - 1977

Close Encounters of the Third Kind Framed Art Print
16 in. x 22 in.

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A science-fiction epic and adventure story about the mysteries of UFO and extra-terrestrial appearances. A Middle-American from Indiana Roy Neary (Dreyfuss), a utilities lineman, is confronted by a UFO on a deserted road at night as he investigates a power outage - a near-religious, life-transforming experience. Afterwards, he becomes obsessed with unexplained, mountainous shapes, and five musical notes. By piecing together clues, he is ultimately led to a rendezvous on Devils Tower in Wyoming with Jillian (Dillon), a mother whose young boy Barry (Guffey) was kidnapped by the aliens. There in the exhilarating climax, they witness an arriving spacecraft, the dazzling mother-ship, greeted by a top-secret scientific establishment led by Claude Lacombe (Truffaut).

Jaws - 1975

Jaws Wall Mural
48 in. x 72 in.
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Jaws (1975) is a masterful, visceral and realistic science-fiction suspense/horror-disaster film that taps into the most primal of human fears - what unseen creature lurks below the dark surface of the water beyond the beach? The tagline for the tensely-paced film, "Don't go in the water," kept a lot of shark-hysterical ocean-swimmers and 1975 summer beachgoers wary (similar to the effect that Hitchcock's Psycho (1960) had on shower-taking).

The screenplay, mostly written by young, 27 year-old director Spielberg himself and Carl Gottlieb, was provided in part by Peter Benchley who wrote a trashy action novel by the same name (but originally titled A Stillness in the Water) about the fictional New England coastal town of Amity, Long Island - a summer resort that is terrorized by a menacing Great White Shark (known as the genus/species Carcharodon carcharias. Both Benchley's best-selling book (released in the winter of 1973-74) and Spielberg's film borrowed from various sources.

E.T. The Extra-Terrestrial - 1982

E.T. - The Extra Terrestrial Wall Mural
48 in. x 72 in.
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E.T. The Extra-Terrestrial (1982) is the popular myth magical fantasy film. Its budget is estimated at 10 million dollars was recovered easily when it became one of the film's box office champion of all time. Steven Spielberg is very personal, warm masterpiece of science fiction (with special effects produced by George Lucas Industrial Light and Magic Company) has been warmly accepted by the public of the film for its depiction of love between a young suburban boy and a caring father lost and homesick visitor (probably an adult) from another planet who is wrongly abandoned and orphaned land - three million light years from home.

film's themes are discovered, rescue and escape, rather like the myth of Peter Pan (included in the film). John Alvin's poster for the film with light, heavenly finger also has a religious theme, recalling the creation of Michelangelo's "painting of Adam on the Sistine Chapel ceiling. And the story of the death and resurrection posted parallels with the biblical story. One of the first titles of the film work was a Boy's Life.

Much of the film was deliberately shot from a lower angle camera - to the point of a child-of-view manipulatively encourage young viewers to identify with the characters, to simulate how overwhelming and threatening adults turn to children (from the knees or waist down), and force the adult viewers to relive their childhood. He also filmed in sequence, so that the scene of departure his conclusion should contain a sincere emotion.