Robert Zemeckis | 144 mins | streaming (HD) | 2.35:1 | USA / English | PG / PG
Contact is 20 years old today. I don’t remember it going down particularly well on its release (Rotten Tomatoes backs me up on that: it scores just 62%) and I’ve largely paid it no heed, other than it still comes up now and then. I can’t remember what gave me a sudden urge to watch it last month, but doing so was a bit of a “where have you been all my life?!” experience.
It stars Jodie Foster as scientist Dr Ellie Arroway, who’s obsessed with scanning radio signals from space for signs of alien life, much to the ridicule of her serious colleagues. While working at an observatory in Puerto Rico, Ellie becomes romantically entangled with Palmer Joss (Matthew McConaughey), a Christian philosopher, in spite of their differing views. Their affair is cut short when Ellie’s government funding is cancelled and she leaves to seek independent financial backing, eventually finding it from reclusive billionaire S.R. Hadden (John Hurt). Beginning research anew in New Mexico, her persistence eventually pays off when her team detect a repeating signal, and suddenly her kooky little project is of global concern.
Adapted from a novel by scientist Carl Sagan (of Cosmos fame), Contact is notable for its very grounded and plausible approach to the science of possible first contact. It’s like the anti Independence Day: rather than giant technologically-advanced spaceships turning up out of nowhere and threatening us, we receive a signal with mathematical properties (maths being a universal language) and consider opening lines of communication. Of course, it gets more speculative from there, but that’s unavoidable if you’re telling a story where we hear from aliens. Regardless, all of the science, as well as the political developments that ensue from it, feels very truthful. I’m sure there must be some of the ol’ corner-cutting Movie Science involved somewhere, but that’s usually necessary for the sake of telling a reasonably paced story. Despite that, some viewers find its methodicalness to be “slow” or “boring”. Conversely, that’s part of why I liked it so much: it doesn’t wave its hands around to obscure the discovery part just so it can get to the Cool Stuff — it is the discovery part.
Concurrent to the “how this might actually go down” plot, Contact seeks to explore the axis of faith and science, putting them in juxtaposition to show that, for all their obvious differences, there are also psychological similarities. That’s the purpose of McConaughey’s character, really: a very religious, but amenable, figure for Foster’s very scientific outlook to bump up against. Their romantic storyline works in favour of keeping this discussion balanced: you don’t end up projecting one as the hero and the other as the villain when they’re both halves of the central relationship. It results in some thoughtful perspectives on where the line between science and religion blurs.
Foster gives an impassioned performance as the dedicated Ellie, who’s so committed to both her cause and the truth that she doesn’t compromise, even when it might get her ahead. Her tunnel-vision focus on science means she can come across as a bit of a cold fish, which makes sense given the character’s backstory, but for some viewers that seems to render her too distant to embrace as the heroine. It goes as far as some saying the film’s ending has no heart because Ellie is so cold. Conversely, I think that’s almost why it works. She’s a person who has shut herself down because of her loss, but she still has some small flame of hope that keeps her searching. What happens at the end fully taps into her emotions, fanning that flame. Surely there’s something powerful in that?
Among the rest of the cast, McConaughey shows he had skills long before the McConnaissance, William Fichtner does a lot with a small supporting role, and Tom Skerritt plays a total dick in a way that feels like a real-life total dick rather than a movie version. By way of contrast, James Woods’ character is the other way round: he’s a good actor, but was perhaps railroaded into being a little heavy-handed as a somewhat-villainous National Security honcho. That said, with the current US administration’s attitude to science, maybe he’s sickeningly plausible today.
Although not an ID4-style extravaganza, Contact features a great use of special effects — or, rather, that’s why they’re so great: they don’t exist just so they exist; they exist because the story needs them, and they’re more powerful and beautiful for it. This is true not only of some final-act trippiness, but also scenery shots of the giant Machine that gets built, which are made more real by their understatedness. Can you imagine this film now, as it would be made by most directors? There’d be constant helicopter-style shots of the thing. (The exception, of course, would be someone like Denis Villeneuve, as conclusively proven in Arrival.)
I can understand why Contact didn’t catch on with audiences back in ’97. This was the year after Independence Day became the second highest grossing movie of all time, which shows what interested the minds (or, at least, adrenal glands) of the wider viewership. Nonetheless, I don’t understand why it didn’t find stronger recognition among those who appreciate thoughtful, realistic science fiction. It hasn’t really dated in the past two decades (aside from the chunky desktop computers everyone’s using, anyway), and its debates and messages continue to resonate as a reflection of the society we live in, so maybe there’s time yet for its reappraisal.