In a practical sense, one can just watch Poltergeist and be in awe of the technical qualities. Hooper’s Panavision composition and Matthew F. Leonetti’s photography alone are enough to make it a singular experience. But then there are Hooper’s additional touches–like how a scene’s establishing shot is usually the third shot in the scene, the first two being close-ups or reaction shots. Or the strobe effect. Or the eerie movement, which is probably the most famous Poltergeist visual.
But then there’s the script. Screenwriters Steven Spielberg, Michael Grais and Mark Victor are not big on exposition. In fact, the entire familial relationship at the center of Poltergeist is mostly inferred. One of the film’s obvious “goofs” involves JoBeth Williams only being sixteen years older than daughter Dominique Dunne makes a lot more sense if one assumes Williams is her stepmother. The dialogue–and Dunne’s behavior–even suggests it. But the film is full of those discrete little moments… the filmmakers put an incredible amount of trust in the viewer.
The acting is all excellent. Dunne, in the smallest family role, probably gives the film’s best performance. After her, it’s Craig T. Nelson as the dad, then Williams. These three are absolutely fantastic.
The other kids, Heather O’Rourke and Oliver Robins, are both good.
In the supporting cast, Beatrice Straight is particularly exceptional.
While Jerry Goldsmith’s score is derivative of his other work, it ties the film together quite well.
Poltergeist is great. It’s surprisingly deep and technically magnificent.