Steven Spielberg is often described as the inventor of the “event movie” – or as the creator of our new age of IP supremacy, in which the genre property is more important than any above-the-title film star. But that isn’t quite it. He came of age in the American new wave era but in spirit belonged neither to that nor fully to Hollywood’s golden age studio system that preceded it. In fact, he synthesised both into a directing style that was audacious and fluent.
He availed himself of the subversiveness of the new wave, and yet was classically oriented, drawing upon his love of – and alienation from – the all-American suburb, making him the Edward Hopper or the Andrew Wyeth of the movies. Tellingly, it was François Truffaut, the most emollient and Hollywood-friendly of France’s Nouvelle Vague masters, whom Spielberg cast in a cameo in Close Encounters of the Third Kind.
The Evolution of the Event Movie
Spielberg’s early achievement was to bring about an evolutionary sea change, reinvigorating pulp-popular themes and ideas and giving them a new maturity and mainstream box office credibility. The idea of a giant shark crazed with a vindictive taste for human flesh or dinosaurs busting out of an amusement park is something that Roger Corman or Ed Wood Jr might have made in two weeks with risible rubber creatures. In Jaws and Jurassic Park, Spielberg’s production values were state of the art.
His digitally fabricated dinosaurs were gasp-inducingly real. So was his shark in Jaws, a compellingly villainous character – but we could not be permitted any more than a brief glimpse of the mechanical fake shark. Spielberg arrived at the inspired idea of making John Williams’s legendary two-note musical theme the shark: we then imagined the shark, felt the shark, and shivered with fear at the demonic thumping motor of that musical phrase.
Pulp to Prestige: The Spielberg Magic
Similarly, derring-do adventures in exotically imagined foreign locations for family audiences were once thought the domain of Saturday morning serials. Spielberg, in partnership with the franchise inventor George Lucas, made them the lifeblood and vital voltage of the movie theatre: they were serious propositions in a way they hadn’t been before. He has an almost supernatural sense for what an audience is expecting and hoping for in each scene. Like an orchestra conductor, he knows how to bring in the chest-busting timpani of the audience’s gasp, cheer and applause.
In movies such as Lincoln, West Side Story, Bridge of Spies and War of the Worlds, he revived great ideas and great figures and brought to them a rapturous verve. He created one of the great battle scenes in Saving Private Ryan and also declined to stay in his lane by taking on racism in Amistad and The Color Purple.
Schindler’s List: A Masterpiece of Hope
In what is considered his masterpiece, Schindler’s List, he addressed the Holocaust with absolute seriousness and commitment, and set himself the task of trying to find a candle-flame of hope in the darkness. And in his late classic, the autobiographical gem The Fabelmans – a self-portrait of a filmmaker born from suburban alienation – he proved that even after decades of blockbusters, his most powerful subject remains himself.
Directors, Critics, and Superfans Weigh In
When asked to choose their favourite Spielberg films, the consensus among directors, critics, and super-fans often lands on a mix of crowd-pleasers and art-house triumphs. Below is a quick look at the top picks that define his legacy:
| Rank | Film | Year | Why It Stands Out |
|---|---|---|---|
| 1 | Jaws | 1975 | Pure popcorn perfection; invented the summer blockbuster |
| 2 | Schindler’s List | 1993 | Unflinching Holocaust drama with profound moral weight |
| 3 | Raiders of the Lost Ark | 1981 | Ultimate adventure serial brought to life with wit and wonder |
| 4 | Close Encounters of the Third Kind | 1977 | Spiritual, awe-inspiring sci-fi with Truffaut cameo |
| 5 | Jurassic Park | 1993 | Revolutionary CGI dinosaurs and a cautionary tale of science |
Frequently Asked Questions
What is considered Steven Spielberg’s best film?
While opinions vary, Schindler’s List is widely regarded as his masterpiece for its serious treatment of the Holocaust. However, many critics and fans also rank Jaws as “pure popcorn perfection” for its tension, music, and cultural impact.
How did Spielberg change the movie industry?
Spielberg invented the modern “event movie” by merging high production values with pulp themes. His work with John Williams and George Lucas turned blockbusters into serious cinematic propositions, reshaping Hollywood’s business model.
Which Spielberg film is most autobiographical?
The Fabelmans (2022) is a deeply personal film that draws directly from Spielberg’s childhood, his parents’ divorce, and his discovery of filmmaking as a way to make sense of the world. It is considered his most intimate work.
