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An early holiday gift for film geeks has arrived in the form of a new video essay, written, directed, and produced by Kevin B. Lee of Fandor, that highlights the phenomenon of "The Spielberg Face," that look of awestruck wonder that repeatedly occurs on characters' faces in the films of Steven Spielberg. The video was inspired by an earlier photo essay called "The Spielberg Face: A Legacy," and with both War Horse and The Adventures of Tintin being released next week, it's a timely tribute to Spielberg.

Many directors are known for signature themes, like Tarantino's foot fetish, Aronofsky's self-destructive characters, Michael Bay's 360 shots, Malick's nature porn, and so on. With Spielberg, it's that close-up look of astonished amazement that has roots in D.W. Griffith and others, but which Spielberg has decidedly made his own. As the essay puts it:

"If there is one recurring image that defines the cinema of Steven Spielberg, it is The Spielberg Face. Eyes open, staring in wordless wonder in a moment where time stands still. But above all, a child-like surrender in the act of watching, both theirs and ours. It's as if their total submission to what they are seeing mirrors our own."

The Spielberg Face isn't solely confined to the childlike look of wonderment. It also encompasses "sudden shock or creeping dread," as well as "the trauma of remembering the past, or of confronting the future, discovering humanity in another person, or discovering humanity in oneself." From Amblin' to Crystal Skull, many people probably have a favorite Spielberg Face, or can at least readily call one to mind, whether it's Richard Dreyfuss gazing at a UFO in Close Encounters, Roy Scheider first getting a gander at Jaws, or the departure of E.T. seen through the eyes of Henry Thomas' Elliott.

Lee also touches on the increased presence of trauma in the Spielberg Faces of post-9/11 films such as War of the Worlds and Munich, and finds the zenith of the Spielberg Face's inherent manipulation in the movie A.I. "The Spielberg Face" is the first in a series of videos on Spielberg that will appear on IndieWire's Press Play blog.

Commentarium (7 Comments)

Dec 14 11 - 7:14pm
amie

Awesome!

Dec 14 11 - 9:16pm
Jeff @ DTM

"Misaligned and misunderstood" is a perfect way to describe AI: Artificial Intelligence. It, like so many other movies these days, got caught up in the hyperbolic wave of people jumping on the bandwagon of making fun of a movie they simply don't like, but calling it "the worst movie ever." Frankly, I enjoyed it the first time I saw it in the theater and continue to do so when I catch it on DVD, etc.

Dec 15 11 - 2:48pm
blaker

I thought the movie was really good until it stopped using Pinnochio as a metaphor and started being Pinnochio.

Dec 15 11 - 1:03am
ssa

isn't that just...an incredibly standard melodramatic device? I really don't think Spielberg should get to claim it as the Spielberg Face...

Dec 15 11 - 1:38pm
thinkywritey

I thought the same thing, but then I remembered MST3K making fun of the "Spielberg-patented People Standing Around Looking At Things shot" so maybe there's something to it.

Dec 15 11 - 2:53pm
blaker

In the review of his use of the "dolly-in to close up " shot, the most effective and memorable example: Roy Scheider on the beach in "Jaws" is somehow omitted.

Jul 10 12 - 3:05am
Akkan

No one gives “shit just got serious” face better than Steven Segal.
Why has Spielberg never cast him?
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