In 'D-Day', Spielberg seeks charm from alien classics like 'E.T.' and 'Close contacts'; g1 already seen

When the greatest director of all time returns to his favorite subject, aliens, you better pay attention. In "D-Day", Steven Spielberg evokes the charm he injected into classics such as "Close Encounters of the Third Kind" (1977) and "E.T. The Extraterrestrial" (1982) - with mixed results.
The filmmaker's first blockbuster since 2018 opens in Brazil this Thursday (10) with the optimistic innocence and hints of conspiracy theories that mark some of his best films.
As in most of the veteran's work, they are there a bewildering adventure contrasted with the calm to elucidate the mystery, the fascination with the unknown, the purity of an almost childish look and great performances by excellent actors.
In this case, by Emily Blunt ("The Devil Wears Prada 2"), Josh O'Connor ("Rivals") and Colin Firth ("The King's Speech").
Unfortunately, it is difficult to say whether something has been lost in the decades since the classics that clearly inspire "D-Day" or whether Spielberg lacks genuine interest in innovation - at least one that goes beyond mere technique.
The technological advances achieved in the almost 50 years that separate it from "Close Encounters" are undeniable. Just as it is practically impossible to ignore that, at the end of the new story, among the countless feelings provoked is that of slight frustration.
At least for those who are used to always expecting the best from the director.
Watch the trailer for 'D-Day'
An elegant plot for less civilized times
As always, Spielberg imagines a world where extraterrestrials are real and where their existence is hidden by an organization with shady motivations.
In the script that the filmmaker signs with David Koepp, with whom he worked on "Jurassic Park" (1993) and "War of the worlds" (2005), the protagonists are a group of people determined to put an end to this secret and a woman (Blunt), caught in the crossfire.
It's an elegant plot for less civilized times. The director's insistent optimism and innocence that dominate the narrative sound almost anachronistic among so many cynical super-productions full of explosions.
Always more interested in the human side of his conflicts, it's a pleasure to see the dexterity with which the director sews the threads between the protagonists, the nefarious organization and the true nature of the aliens.
In your hands, the almost two and a half hours of duration have no room for unnecessary fat. Every moment conveys a sensation. Each look tells a story in a few seconds.
All with the ever-present help of John Williams' score - another one that can be called the greatest of all time in its own category. Perhaps "D-Day" lacks a striking theme like its two main inspirations, but each note is as responsible for the feelings instigated as the filmmaker himself.
Delaney Anne Cuthbert in a scene from 'D-Day'
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The chapter that wasn't
It's difficult to say, however, that the film joins the greatest classics of Spielberg's career. Perhaps by looking too much into the past, and even recreating much of its charm too well, the film forgets to build something new.
There is nothing wrong with revering great examples - but care must be taken in the case of self-references. Not that the work sounds arrogant. She just, at times, seems too pleased with herself, like the ends left whimsically loose at the end.
It is possible to forgive a certain sentimentality, especially in the hands of someone who knows better than anyone else how to use it. Forgiveness is always easier with a warm heart.
But when the greatest of all time returns to his favorite genre, the world tends to expect a new chapter, and not just a visit to simpler times - no matter how good it is.

Art/g1
Emily Blunt and Josh O'Connor in a scene from 'D-Day'
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