Though most of Robert Lieberman’s Fire in the Sky is a fine sci-fi mystery, competently crafted if a little mundane, it contains about fifteen minutes of pure undiluted nightmare fuel that justifies a watch. Based on an allegedly true story, Tracy Tormé, who has written for a slew of fan-favorite sci-fi TV shows, took some liberties with Travis Walton’s source account in his script. From what I understand, this was an improvement. In any case, the realization of Tormé’s vision for that particular sequence is absolutely fantastic. The film celebrates its 30th anniversary on March 12th. Let’s take a look back.
In early November of ’75, outside the small town of Snowflake, Arizona, a motley group of loggers including Travis (lively DB Sweeney), his best friend Mike (salt of the earth Robert Patrick), drifter Dallis (angry Craig Sheffer), pious David (Peter Berg), young Greg (Henry Thomas in a completely different extraterrestrial contact film), and calm Bobby (Bradley Gregg) see some strange lights in the forest late at night. Seemingly confronted by a UFO, the curious but foolish Travis investigates the ship up close. The ship suddenly attacks him and his comrades make a hasty retreat, thinking he’s been killed. Quickly coming to his senses, Mike drops his crew off and returns to the spot of the assault but Travis is nowhere to be found.
The men report what happened to the authorities, but they are of course skeptical. Lead investigator Frank Watters (a clever and folksy James Garner) is convinced there’s been foul play and finds the story to be ridiculous. Mike’s life unravels as he loses the trust of his wife while the townsfolk eye him suspiciously. Five days later, Travis inexplicably shows up naked, bloody, and traumatized. Tensions deescalate slightly, but the damage has been done, and when Travis finally remembers what happened to him during his abduction, it’s as horrifying a sequence as exists in ‘90s mainstream filmmaking.
Cinematographer Bill Pope’s location shooting in rural Oregon (doubling for eastern Arizona) is lush and textural. Costumes and sets are nicely realized, presenting authentic period detail. On the other hand, I’m not a fan of Mark Isham’s heavy-handed score, for the most part. It’s intrusive and way too on the nose. He’s done better work elsewhere (see Blade and The Mist).
Though the flick is based on Travis’ book, Mike is really the main character. Patrick does a fine job carrying the more traditional parts of the story. His confusion, despair, and righteousness give the film an emotional center. That’s not to say that all that drama is particularly engaging. In fact, I’d say it’s almost dull. However, it is effective in that you lower your defenses, which makes the abduction sequence that much more shocking when it arrives and lands a knockout punch.
Genuinely bizarre, disorienting, and unnerving, Travis’ experience in the alien ship is worth the price of admission. Everything works here. Isham’s music goes dissonant, the weird camera angles accentuate our anxiety, and the practical effects work is excellent. Lieberman and company labor, and succeed, at plausibly presenting a truly alien environment. It’s slimy, repulsive, and terrifying in the best way. It’s also just flat-out cool.
Robert Lieberman’s Fire in the Sky is worth watching for its bravura abduction sequence. I really can’t say enough about that scene. It sticks with you, even if the rest of the movie is merely serviceable. For that reason alone, it has to be in the conversation for best alien contact films. Recommended for fans of Close Encounters of the Third Kind, Communion, and The X-Files.
Michael Cavender