Close Encounters of the Third Kind: Contacted Edition

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Brief Synopsis:
The Contacted Edition used the best material from all three official cuts, along with a few unique changes and trims, to try and craft the most satisfying version of Close Encounters.
None of the 3 cuts sat right with me entirely, along with a few other little bits and bobs that annoyed me, so I sought to create my own cut.
Other Sources:
2017 Blu-Ray - The 40th Anniversary Edition was used as compared to the 2009 BR, I like the look of it a lot more. Plus there are a few VFX changes in the third act that aren't too revisionist, but welcomed
Theatrical Trailer - The 6-minute trailer from the original release was used to create the new opening title sequence, as the road footage and the logo was put together with some music
40th Anniversary CD - A few of the tracks were used to cover cuts here and there
Special Thanks:
Topher Grace for making a cool cut in 2012 that no one really can see
Release Information:
Cuts and Additions:
I thought I used the Directors Cut as a basis, but accidently used the Special Edition, so I might've missed some cuts that aren't listed. It also made it impossible to tell how much I added vs how much I cut. I might work it out later however...

- new opening credits sequence
- trim some of the yelling back and forth in the first scene
- smooth over the visual transiton from the sandstorm to the radar screen by having a fade to complete black
- cut the air traffic control guys talking over each other
- cut the first introduction scene of Roy back to the TC version, without the train scene
- add back the power plant scene from the TC so that we understand why Roy got fired
- trim the above scene, with some of the guys yelling over each other
- cut SE shot of the mothership shadow over Roy's ute
- add back the rest of the fired scene from the TC
- trim Roy messing with the camera
- cut the old guys eating KFC and playing cards
- trim the shot of Gillian arriving
- cut Gillian comparing the event to Halloween and Roy's response
- cut some of Laughlin repeating himself and the "well before I got paid to speak French" implying he's been doing something else besides interpreting this whole operation
- move backwards the "Wyoming" line so that it matches up with the visual of the map when they find the co-ordinate
- cut the crackpot talking about Bigfoot
- cut the whole scene with the government planning the cover-up, so that we don't fully believe it's a coverup and that we're on the same page as Roy
- cut Roy saying "Chicken wire" before he goes to grab it from the neighbour
- cut the coda of the "Ronnie leaves" scene when Roy climbs back through the window, as it was in the SE
- cut out Carl Weathers but keep Roy putting the masks and canary in the car, combined with a few shots from the DC
- cut Roy saying "he's not even American"
- cut the pan during the conversation, now it's a straight cut back and forth
- add back the longer helicopter escape from the TC
- trim some of the army/government agents to keep the focus on Roy, Gillian and the Larry guy as they escape into the woods
- cut a small section of the gang hiding in some rocks
- cut Roy entirely falling down the cliff face
- cut the kiss, I think it works better if they're just platonic friends so that Roy wouldn't have another romantic connection to miss if he left the planet
- blur the landing strip in one shot as Gillian spots the mothership as it should be out of focus
- cut one of the white jumpsuit guys running to the toilet as Roy jumps down
- trim some of the discussion of Roy's fate as they all talk over each other
- cut out the Lanky alien as it suddenly disappears without a trace, maybe it has some deeper meaning but I thought it was wierd
- cut out the audio of Roy's discussion with the agent after "we assume we have your complete co-operation"
- cut one or two of the alien close ups, so that we can't see their little eyes
- the Special Edition ending is not used

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As expected, great editorial choices by Bobson here, from the use of trailer footage to craft a more fun, less creepy, title sequence, to the excision of that utterly out-of-place kiss at the end, and many other welcome tweaks throughout, this is a much more streamlined, not to mention cleaned-up, edition of this seminal film. (My lone complaint is the loss of Bob Balaban's "before I got paid to speak French..." line, which I always thought was a fun nod to his accidentally having been "abducted" himself into this mission, but that aside, this is easily my favourite version of one of the better "baby boomer existential crisis" Spielberg movies -- no offense, Hook fans.

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