E.T. grows up, and he might take an Oscar home
By Stephen Schaefer
Even without goo-goo-eyed children or an E.T., STARMAN is very much the spawn of Steven Spielberg. This charming fantasy of an alien stranded on earth bears the sweetness associated with Spielberg's space stories. Like E.T., the plot twists on Starman's need to go home.
But what makes STARMAN so immensely enjoyable on it's own is Jeff Bridges' incisive work as the alien who's taken on human shape. Bridges has always excelled at physical characterizations, and as Starman he's devised some memorable touches, beginning with his tottering alien walk. (Isn't it odd that his only real competition for the Best Actor Oscar will be Albert Finney's wobbling drunk in UNDER THE VOLCANO?)
Under John Carpenter's direction, Bridges' stellar turn is neatly balanced by the supporting cast. Karen Allen is charming as the widow whose dead husband Bridges impersonates. Initially frightened and confused, Allen becomes the alien's traveling companion on his journey to rendez-vous with his spaceship. There are a half-dozen vivid character actors along the way and some scenic commentary that's as grand as it is amusing.
Not so much fun is the bloated, uninspired villainy of the army officer (Richard Jaeckel) who's stalking the alien. Like E.T.'s unseen soldiers, Jaeckel is a cardboard prop in a film that's filled with living people, alien or otherwise. Like CLOSE ENCOUNTERS, STARMAN is a special-effects movie - but it's Bridges' wizardry that makes it shine, not Industrial Light and Magic hardware.
