Contact

Details

Contact must have one of the best film introductions ever. We begin by rocketing away from planet Earth, intermingled with music from the 90's - yes, the Spice Girls are in there - gradually panning out through our galaxy. Little by little the music changes through the decades until there is nothing but static, the point where our planet's radio signals have yet to reach. Finally we appear reflected in Ellie's eye as she peers through a telescope. It is a breathtaking way to remind us just how small we really are. Pure brilliance.

Ellie is obsessed with the stars and, together with her father, spends her evenings scanning the skies in the hope of hearing something extraordinary. That quiet curiosity becomes the emotional backbone of the film, especially when tragedy strikes and her father dies suddenly, leaving her with both unanswered questions and an unshakeable drive to search for meaning in the cosmos. Years later she is working at an observatory in Puerto Rico on the SETI programme, still listening, still searching, even as funding dries up and scepticism surrounds her work.

Ellie attempts, and fails, to secure further backing from other organisations due to her unwavering belief that the search is about more than just science. That is until her final presentation. Billionaire businessman S.R. Hadden gives her the funding she requires to continue, and one night it finally happens: an unexplained signal from the stars. It is the moment she has devoted her entire life to - and the moment that changes everything.

Further investigation produces an image, and then sound, of Hitler's opening address at the Berlin Olympics, the first television signal ever to be beamed around the world. A second transmission follows, revealing instructions to build a single-seat spacecraft. As expected, governments and the military quickly become involved, bringing politics, fear and religion into the equation. When Ellie and her team go public, the world is forced to confront a simple but staggering question: do we build the machine, and if we do, who is brave enough to go?

Picture & Sound

The sound is simply stunning, probably the best I've ever heard in a film. One moment stands out above all others and is a definite Dolby demonstration piece. When the machine is being tested, the front and rear speakers are given a relentless workout as the gyroscope hurtles around from rear to front soundstage. And if you are fortunate enough to own a subwoofer and need a wall knocking down, the LFE is astonishing. It is deep, powerful and controlled rather than just loud.

Yet it is not just about thunder and spectacle. The quieter moments are equally impressive, with subtle ambient effects and delicate scoring giving real atmosphere to scenes of isolation and contemplation. The mix has tremendous range, moving effortlessly from silence to overwhelming intensity. The picture is just as impressive. Detail is pin sharp, colours are natural and the effects blend seamlessly with live action. For a film so dependent on visual trickery, it remains remarkably convincing.

This is the film which convinced me that I simply had to get a Dolby Digital set-up at home. The thundering bass in the THX cinema had my ribcage rattling and crying out for more. From that day on I was totally hooked - and so will you.

Menu & Extras

Warner have put together a solid collection of extras for Contact, and the three separate commentary tracks are easily the highlight. Jodie Foster provides a thoughtful and reflective track, discussing the emotional core of the film and her approach to Ellie's character. Robert Zemeckis and producer Steve Starkey offer a more technical perspective, covering the challenges of adapting Carl Sagan's novel and bringing such an ambitious concept to the screen. The third commentary, featuring Ken Ralston and Stephen Rosenbaum, focuses heavily on the visual effects work and editing, making it particularly interesting for those curious about how the film's more complex sequences were achieved.

There is also a selection of computer animation concepts and effects tests which demonstrate just how much planning went into the film's seamless visual style. The special effects design material gives a further glimpse into the construction of the machine and the various digital environments, while the production notes provide background on the development of the project.

Rounding out the disc are the original theatrical trailers, which serve as a reminder of just how carefully the mystery of the film was marketed. While it may not be the most exhaustive special edition ever produced, the package feels thoughtful and in keeping with the intelligent tone of the film itself.

Overall

The story is cleverly constructed and must largely be credited to the brilliant writer Carl Sagan, who unfortunately died before the film was completed. It is a profoundly thought-provoking piece as your opinions shift from one minute to the next on the true origins of the message and the religious implications it raises. Science and faith are placed in direct conversation, neither dismissed, neither glorified.

What makes Contact so powerful is that it never descends into cheap spectacle. Even when the machine finally activates, the focus remains on Ellie - on belief, doubt and the human need for connection. The journey she takes is not just across the universe, but inward, forcing her to confront the same questions she has spent her life asking of others.

Few science fiction films manage to balance intellect and emotion quite so effectively. It is big in scope yet intimate in feeling. It asks enormous questions about our place in the universe, but never forgets the fragile human perspective at its centre. Years after its release it still lingers in the mind long after the credits roll.

For me, Contact remains one of the most rewarding science fiction experiences ever committed to film. It is intelligent, moving and technically superb. If ever a film justified investing in a decent home cinema system, this is it.

Special features

• Commentary by Jodie Foster
• Commentary by Robert Zemeckis and Steve Starkey
• Commentary by Ken Ralston and Stephen Rosenbaum
• Computer animation concepts and tests
• Special effects designs
• Production notes
• Theatrical trailers