It is Roy’s theme, which is a repeating four-note motif, probably used to express his constant obsession over his desire to find out the truth. The second is more subtle in the film but can be heard many times on the CD. The first is the Devil’s Tower theme, full of choral beauty and a little mystery for what lies ahead. “False Alarm” introduces us to two of these themes. No Williams score would be complete without a motif or two, and amidst all the atonality it is easy to recognize several themes. When the spaceships disappear from view and we see little Barry running in the road, the low-end bass is almost the calm before the storm, before a flourish of strings is heard when Roy almost runs into Barry. “Roy’s First Encounter” gives us what could be considered classic Williams: a chase scene with swirling strings.
The swirling duststorm and the strong bass (“Navy Planes” and “Lost Squadron”) signify a miraculous find, but in this case the score takes a back seat as we marvel over the mystery of the reappearance of planes thought to have disappeared years ago.
With the startling hit that opens the film and the CD (“Opening: Let There Be Light”) we are instantly aware that things aren’t going to be wine and roses. Fans of John Williams know very well that 1977 was a banner year for the composer, as he wrote two very extraordinary scores to two “space films.” The more popular one was of course Star Wars, but the release of the Close Encounters of the Third Kind Collector’s Edition CD led me to believe that both scores should be raised onto the same platform, as both use styles that many have tried to copy, but none have succeeded.
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