Communion

The film depicts the personal and professional crises a writer experiences after a series of encounters with non-human beings.

The film strongly benefits from the performances of Christopher Walken and Lindsay Crouse. Walken (always engaging) manages the challenging task of making Whitley Strieber a compelling character; you care about him even if you don't necessarily like him 100% of the time. Crouse succeeds as Whitley's wife; the two together are immediately believable as a married couple.

The film is arguably the most intelligent film about the alien abduction/ visitor phenomenon. Unlike countless cheap, made-for-TV films, where the emphasis is on the sensationalistic, "shocking" aspects of the subject, COMMUNION focuses on the psychological and emotional harm the experience does. We see Strieber describe his experiences to his medical doctor, and then to a psychiatrist. Once his own mental health has been established, then (and only then) does he begin to consider the possibility that the creatures he has seen are actually real.

After questioning everyone from medical professionals to fellow abductees, Whitley realizes the only ones with the answers are the visitors themselves. At the film's climax, he willingly presents himself to the visitors. This is what makes COMMUNION transcend every other film about the phenomenon.

Director Phillipe Mora successfully creates a "you-are-there" atmosphere, letting the actors improvise a lot of their dialogue. There are two distinct moods: one, where things are brightly lit, secure, and normal; and secondly, the dark, unsettling world Strieber inhabits only with himself and with the visitors. Mora's direction is subtle, with cues in both the dialogue and a detailed, occasionally wry visual style.

Another plus is Eric Clapton's opening and closing theme music.

This is a seriously underrated film.

The director's cut (with commentary by Mora) is recommended.

In 1985, sci-fi novelist Whitney Striber had a dream which led to a close encounter. It became the subject for his book 'Communion' which became a best-seller. Four years later he gives us this. True story though it may be, it is clearly too personal for Striber to manipulate (even just a little bit) to make it the right shape and form for a movie. Instead it remains too abstract, and subsequently clumsy. But that is only half the problem.

Communion wins my award for biggest miscast in cinema history. Christopher Walken does everything wrong, starting with the way he delivers his dialogue. He is not even remotely engaged in the story, he is emotionally dead. Walken is portraying somebody who went though what must've been the most traumatic experience that a person could have. The only time he comes close to showing signs of trauma is his ability to make himself cry (a little) at the end of one scene.

Next, there is the matter of visual effects. If you were to walk into a room where this was on TV, and up to the part when we meet the 'little blue doctors' and their slightly taller, skinnier red-skinned cousins, you might think you were watching an Ed Wood flick, or something from that decade. Looking at these creatures, one is more likely to think they are cute rather than creepy or surreal. Anything that looks like rubber on strings belongs in a puppet theatre, not in a sci-fi thriller.

I guess the only crew member who did a competent job in their field is Eric Clapton, who wrote a good theme for an otherwise mediocre score. Communion has much potential, but sadly it ends up being one of those films that you are glad when it is over.

In "Communion," Whitley Strieber's autobiographical book comes to life...sort of. Viewing this movie is a strange experience, and certainly not for all tastes. It is a very cerebral piece of work from a director who did not wholeheartedly agree with Strieber's interpretation of the events surrounding his so-called abduction. Phillipe Mora makes an effort to give the film an air of surrealism, right down to even having the blatant symbolism of DeChirico paintings on the walls of Strieber's home (whether or not Strieber actually had such paintings is beside the point). The director tries to give the impression that Strieber is suffering a breakdown while simultaneously trying to present the events without too much distortion. Tough task...it's easy to see why the film seems diluted and without chemistry.

However, this also provides the film with an atmosphere that can also help enhance the whole point, which is not "was Whitley Strieber abducted by aliens," but rather "how did Whitley's interpretation of an inexplicable event effect him and those around him?" One of the last scenes, an exchange between Strieber and his wife in a museum, conveys this point perfectly. "It's just God, masks of God." It can be equated with a religious experience, feeling the touch of God. Strieber FELT the touch of an outside presence. Does that mean he was visited by aliens? This is irrelevant, and I firmly believe that this is what the point of the film should be. And let's face it, the film is called "Communion," which means "to be at one with God."

The mechanics of the film are rather well constructed. Christopher Walken is in fine form as Strieber, giving a wonderful portrayal of a writer on the edge (of a discovery or his sanity?). Lindsay Crouse does a good job as Strieber's wife. The acting is slightly flat in some areas, but this might've been another device of Mora's to add to the surrealism. Constant uses of the New York skyline add a sense of foreboding to the film, not just because of the beauty of these scenes, but because it helps give the impression of an outside presence. The music (with Eric Clapton on guitar) is pretty good, typical of the synthesizer-based scores of most '80's movies, but it adds well to the setting. And even though the special effects may seem laughable, Mora has made the case (perhaps pretentiously) that this was also deliberate. The FOX TV version (which seems to be the version being shown on Showtime Digital Cable) adds several sequences, and increases the light contrast in certain scenes, adding a glowing white haze to many scenes. Some have complained about the scene in the psychiatrist's office being so bright, but I think it also helps get the message that there may be an outside presence surrounding all of us, whether we recognize it or not.

"Communion" is an interesting movie that suffered from a view that was perhaps too short-sighted. If the film were made today, one can be sure the message might have been lost on overbloated special effects, and the surreal effect would've been diminished to appeal to the lowest common denominator of movie-going audiences. No matter what your stance on alien abduction, this is a very thought-provoking film. Give it a chance...watch it.

First off, let me say that I'm a tad biased, as I have never failed to enjoy Christopher Walken's film roles. His characters are always quirky but always Walken...in much the same way every character Cary Grant or John Wayne played was always Cary Grant or John Wayne. He has a personality that is difficult to hide behind another persona, but which always adds a little something to it.

This is a suitably creepy film, but is very realistically and believably handled, given the fantastic story matter. The visitors in this movie aren't quite the sadistic neo-vivisectionists of Fire in the Sky, but they are still unsettling. The blue men almost remind one of something out of Star Wars, but the presence of the willowy aliens keep that impression well in the background.

Walken carries the film, especially in his sojourns aboard the aliens' craft. One is never quite sure what is really happening...oft times it is like something out of an early David Lynch movie...lying on the borderline between funny and nightmarish.

The film does make you think about all angles of the situation, especially when you consider the point of views and personalities of the people at the abduction support group that Walken's character goes to, and his reaction to it.

The special effects are excellent...not gaudy, but quite realistic (for lack of a better term).

I've seen the real Whitley Strieber on television and read a few of his novels. Walken is definitely not Strieber, but I think he is the only actor who could've made this movie work.

Director Philippe Mora has made some bizarre movies in his time, and 'Communion' is one of the strangest. Christopher Walken plays writer Whitley Strieber who finds his life going in a very odd direction. Strieber isn't the most grounded guy in the first place - his writing technique seems to consist of putting on funny hats and pretending to be a wolf - but even his broadminded wife Anne (Mamet regular Lindsay Crouse) draws the line at freaking out at Halloween masks, pulling a gun on imaginary owls or intruders or whatever it was, and generally nutso behaviour. She convinces Whit to see a doctor, and then a psychiatrist. Under hypnosis Strieber finds out more than he is prepared for. At least he's not insane... I think.

This is one of Walken's greatest "out there" performances, as memorable as 'The Deerhunter', 'The King Of New York' and 'Wild Side'. He mumbles, grimaces, laughs, dances, twitches, stares, freaks out, charms, irritates and scares. I don't think his "Whitley Strieber" has anything to do with the real life one, but it's a sensational performance nonetheless. Walken has few rivals in screen psychos - only Dennis Hopper during his 70s excesses, or vintage Timothy Carey can rival him. Freakin' weird role in a freakin' weird movie! A must see for lovers of movie strangeness.