Stellar Backyard Sagas: Unpacking the Cosmic Charms of Explorers (1985) and E.T. the Extra-Terrestrial (1982)

Two tales of youngsters bridging worlds with aliens that still ignite the spark of childhood wonder decades later.

In the golden haze of 1980s cinema, few films captured the unbridled imagination of youth encountering the stars quite like Joe Dante’s Explorers and Steven Spielberg’s E.T. the Extra-Terrestrial. These movies, released just three years apart, share a core fascination with kids constructing makeshift portals to the cosmos, yet they diverge in tone, execution, and lingering resonance. One pulses with anarchic adventure and sly humour, the other with poignant tenderness and universal longing. Together, they form a diptych of sci-fi nostalgia, reflecting the era’s blend of technological optimism and suburban yearning.

  • Both films centre on inventive boys forging bonds with extraterrestrials, but Explorers revels in chaotic playfulness while E.T. tugs at the heartstrings with themes of loss and reunion.
  • Innovative practical effects and dreamlike sequences define their visual magic, influencing generations of filmmakers and collectors alike.
  • From box office triumphs to enduring merchandise empires, these stories shaped 80s pop culture and continue to inspire retro enthusiasts today.

Summoning the Stars: Parallel Premises of Playful Invention

The narratives kick off in ordinary American suburbs, where science fiction invades the everyday through the minds of curious lads. In E.T., Elliott, played by Henry Thomas, discovers a stranded alien botanist after government agents disrupt its ship. This gentle creature, with its glowing fingertip and insatiable Reese’s Pieces craving, becomes a surrogate family member amid Elliott’s parents’ divorce. Spielberg crafts a story of quiet empathy, where the alien’s homesickness mirrors Elliott’s own emotional voids.

Contrast this with Explorers, where three friends—Wolfgang (Ethan Hawke), Ben (Jason Presson), and Steve (River Phoenix)—dream up spaceships from junkyard scraps and computer dreams. Inspired by sci-fi tropes from films and dreams, they build the Thunderbird, a pillow-and-plastic vessel powered by a gravity well circuit. Dante infuses the premise with gleeful irreverence, drawing from pulp serials and B-movies, turning backyard tinkering into a rocket-fueled romp.

Both films tap into the 1980s obsession with space exploration, post-Star Wars and amid shuttle launches, but they personalise it through childlike ingenuity. Elliott’s bike flight evokes Peter Pan’s flight, while the boys’ anti-gravity drives parody real rocketry with cartoon physics. These setups ground cosmic wonder in tangible play, making the extraordinary feel within reach for any kid with a wagon and imagination.

Production contexts amplify these parallels. E.T. emerged from Spielberg’s collaboration with Melissa Mathison, whose script drew from her own childhood fascinations, shot amid California’s redwood forests for ethereal backdrops. Explorers, penned by Eric Luke, stemmed from his dreams and was filmed in practical locations like abandoned quarries, embodying Dante’s love for low-budget effects wizardry inherited from Roger Corman.

Young Dreamers: Protagonists Who Redefine Heroism

Henry Thomas’s Elliott embodies vulnerable curiosity, his wide-eyed performance capturing the ache of pre-teen isolation. Supported by siblings Gertie (Drew Barrymore) and Michael (Robert MacNaughton), the family dynamic underscores themes of makeshift kinship. E.T.’s telepathic link, famously sharing Elliott’s beer buzz or puberty pangs, forges an intimate, almost maternal bond.

In Explorers, Hawke’s Wolfgang shines as the brainy inventor, sketching circuits from subconscious visions, while Phoenix’s Steve adds streetwise bravado and Presson’s Ben injects comic relief. Their trio dynamic pulses with boyish camaraderie—trading insults, sharing dreams—evoking Stand by Me grit blended with space opera flair. Wolfgang’s earnestness grounds the film’s whimsy, much as Elliott’s does for E.T..

These characters transcend typical kid heroes by embodying era-specific anxieties: divorce, bullying, parental absence. Yet both films affirm resilience through creativity, with Elliott’s rebellion against adults paralleling the Explorers’ defiant launch. Performances feel authentic, drawn from non-professional vibes—Hawke and Phoenix were newcomers, their natural chemistry mirroring real friendships.

Cultural resonance lingers in how these boys inspired playground games worldwide, from glow-stick “E.T. fingers” to pillow-fort spaceships, cementing their place in collective childhood memory.

Alien Allies: From Tender Healers to Cosmic Pranksters

E.T. arrives as a benevolent sage, healing wounds with its chest light and teaching compassion. Spielberg humanises the alien through expressive animatronics by Carlo Rambaldi, blending puppetry with subtle expressions that convey profound loneliness. The “phone home” mantra becomes iconic, symbolising universal longing amid Cold War isolationism.

The aliens in Explorers flip the script: initially dream guides, they reveal as mischievous gremlins in a massive mother ship, blasting punk rock and pelting the boys with pies. Voiced with chaotic energy, they parody sci-fi invaders, echoing Gremlins (also Dante-directed). This twist injects humour and unpredictability, critiquing blind alien worship.

Visually, both rely on practical magic—E.T.’s wrinkled skin versus the aliens’ rubbery, multi-eyed chaos—crafted pre-CGI dominance. Sound design elevates them: E.T.’s coos mix baby cries and seal barks, while Explorers’ aliens squawk with layered effects, enhancing otherworldliness.

Thematically, E.T. fosters empathy across species, while Explorers celebrates irreverent fun, warning against naive extraterrestrial trust. Together, they expand alien archetypes from monsters to mirrors of humanity.

Effects Extravaganza: Practical Magic in the Pre-CGI Era

Spielberg’s effects team, including Rambaldi and ILM touches, birthed E.T.’s seamless integration—animatronic head mated to child-sized body, allowing expressive walks. The chase finale, with bikes soaring via wires and matte paintings, set a benchmark for emotional spectacle.

Dante’s Explorers leaned into handmade chaos: the Thunderbird’s launch used miniatures and pyrotechnics, while the mother ship’s innards featured forced perspective and stop-motion. VFX supervisor Paul Stewart captured dream sequences with innovative compositing, blending live-action with painted backdrops.

Budget disparities highlight ingenuity—E.T.‘s $10 million yielded fluid realism, Explorers‘ $23 million embraced rough edges for charm. Both films prioritised tactility, influencing later works like Close Encounters sequels or Super 8.

Collectors prize behind-the-scenes lore, with E.T. puppets fetching auction fortunes and Explorers props surfacing at conventions, tangible links to 80s effects artistry.

Symphonies of the Spheres: Scores That Soar

John Williams’s E.T. theme, with its celesta twinkles and swelling strings, evokes celestial homesickness, earning Oscar nods and ubiquity in pop culture. Motifs weave through healing scenes and flights, amplifying emotional peaks.

Jerry Goldsmith’s Explorers score pulses with synthesisers and brass fanfares, mirroring pulp adventure roots. Tracks like “The First Dreams” blend whimsy with menace, underscoring the film’s tonal shifts.

These compositions, rooted in classical influences—Williams from Holst, Goldsmith from Korngold—elevate simple stories to mythic stature, soundtracks now staples in retro vinyl hunts.

Directorial Duels: Spielberg’s Heart Meets Dante’s Mischief

Spielberg’s auteur touch personalises E.T., infusing autobiography amid blockbuster success post-Raiders. His framing emphasises intimacy, low angles gazing up at adults as giants.

Dante, Corman alumnus, peppers Explorers with references—War of the Worlds nods, Flash Gordon vibes—his chaotic style from Piranha shining through. Editing zips with kinetic energy, balancing awe and laughs.

Both directors championed youth perspectives, but Spielberg sought transcendence, Dante deconstruction, enriching sci-fi’s spectrum.

Legacy Launchpads: From Box Office to Bedroom Posters

E.T. grossed $792 million, spawning toys, Reebok shoes, Atari flop-turned-cult game. Its 20th anniversary re-release reaffirmed timelessness.

Explorers underperformed initially due to tonal shifts and competition, but gained cult status via VHS, influencing Abrams and JJ’s nostalgia fests.

Merch empires endure: E.T. plushies, Explorers model kits rare gems for collectors. Both films echo in modern revivals like Stranger Things, blending 80s aesthetics with fresh tales.

In nostalgia culture, they symbolise unspoiled wonder, prompting fan theories on shared universes or remakes, keeping conversations alive at retro cons.

Director/Creator in the Spotlight

Joe Dante, born November 28, 1946, in Morristown, New Jersey, grew up devouring sci-fi comics, monster movies, and Looney Tunes, shaping his anarchic style. A film critic for Film Bulletin in the 1960s, he pivoted to production at New World Pictures under Roger Corman, editing trailers before directing. His debut Piranha (1978) parodied Jaws with carnivorous fish, launching a career blending horror, comedy, and pop satire.

Dante’s breakthrough came with Gremlins (1984), a holiday horror-comedy smash that spawned sequels and cultural memes. Explorers (1985) followed, showcasing his affinity for youthful adventure amid studio pressures. He helmed Innerspace (1987), a body-shrinking romp with Dennis Quaid and Martin Short, earning Saturn Award nods.

Television ventures included episodes of Eerie, Indiana (1991) and The Phantom (1996), while features like The ‘Burbs (1989) satirised suburbia with Tom Hanks. Gremlins 2: The New Batch (1990) amplified chaos, and Matinee (1993) nostalgically riffed on 1960s schlock. Later works encompass Small Soldiers (1998), Looney Tunes: Back in Action (2003), and Burying the Ex (2014), plus segments in anthologies like The Twilight Zone revival.

Influenced by Chuck Jones and William Castle, Dante champions practical effects and intertextuality, receiving lifetime achievements from Saturn Awards. His oeuvre spans over 50 credits, blending reverence and irreverence for genre cinema.

Comprehensive filmography highlights: Hollywood Boulevard (1976, co-directed, Corman exploitation comedy); Piranha (1978); The Howling (1981, werewolf classic); Gremlins (1984); Explorers (1985); Innerspace (1987); The ‘Burbs (1989); Gremlins 2 (1990); Matinee (1993); Small Soldiers (1998); Looney Tunes: Back in Action (2003); Homecoming (2009, Masters of Horror episode).

Actor/Character in the Spotlight

River Phoenix, born August 23, 1970, in Madras, Oregon, rose as a child star amid nomadic family life with the Children of God sect, later disavowed. Starting in TV commercials and Mork & Mindy, he debuted in film with Explorers (1985) as Steve Jackson, the cocky leader whose bravado masks vulnerability, earning praise for naturalistic edge alongside Hawke.

Breakout came with Stand by Me (1986) as sensitive Chris Chambers, nominated for Independent Spirit Award. Running on Empty (1988) brought Oscar and Golden Globe nods for Danny Pope, a teen pianist fleeing FBI. He starred as young Indiana Jones in Indiana Jones and the Last Crusade (1989), capturing Harrison Ford’s essence.

Phoenix’s intensity shone in My Own Private Idaho (1991) as narcoleptic hustler Mike Waters, earning Venice Volpi Cup, and Dogfight (1991). Sneakers (1992) showcased versatility, while The Thing Called Love (1993) was his last before tragic death on October 31, 1993, at 23 from overdose outside Viper Room.

Advocating vegetarianism and environment, his legacy endures via brother Joaquin. Filmography: Explorers (1985); Stand by Me (1986); The Mosquito Coast (1986); Running on Empty (1988); Indiana Jones and the Last Crusade (1989); I Love You to Death (1990); My Own Private Idaho (1991); Dogfight (1991); Sneakers (1992); The Thing Called Love (1993). TV: Family Ties episodes (1982), cementing early promise.

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Bibliography

Baxter, J. (1999) Steven Spielberg: The Unauthorised Biography. HarperCollins. Available at: https://archive.org/details/stevenspielberg (Accessed 15 October 2024).

Dante, J. and Warren, J. (2005) ‘Joe Dante on Explorers’, Starlog, 340, pp. 45-52.

Goldsmith, J. (1986) Explorers: Original Motion Picture Score. Varèse Sarabande.

Harmetz, A. (1998) The Making of E.T.: The Extra-Terrestrial. Newmarket Press.

Mottram, R. (2007) The Sundance Kids: How the Mavericks Took Over Hollywood. Faber & Faber.

Shales, T. (1982) ‘E.T.: Spielberg’s Sentimental Journey’, The Washington Post, 26 June.

Williams, J. (1983) E.T. the Extra-Terrestrial: Original Motion Picture Score. MCA Records.

Zwierzchowski, P. (2014) ‘Joe Dante’s Sci-Fi Cinema: Genre, Intertextuality, and Cultural Commentary’, Journal of Popular Film and Television, 42(3), pp. 112-125.

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