The Unlikely Spielberg: Why 'Always' Deserves a Second Chance
There’s something almost paradoxical about Steven Spielberg calling one of his own films underrated. This is, after all, the man who practically invented the modern blockbuster, whose name is synonymous with cinematic magic. Yet, during a recent SXSW panel, Spielberg did just that, shining a spotlight on Always—a 1989 fantasy film that’s often relegated to the footnotes of his illustrious career. What makes this particularly fascinating is that Always isn’t just underrated; it’s actively misunderstood. And in my opinion, that’s precisely why it’s worth revisiting.
A Departure from the Spielberg Formula
One thing that immediately stands out is how Always deviates from Spielberg’s typical playbook. This isn’t E.T. or Jurassic Park; it’s a sentimental, almost clumsy retelling of A Guy Named Joe, a 1943 film that Spielberg admits he adored. Starring Richard Dreyfuss, Holly Hunter, and John Goodman, Always is a love story wrapped in a supernatural drama. It’s about a firefighter-pilot who dies and returns as a guardian angel, only to watch his girlfriend fall for someone else. What many people don’t realize is that this film is Spielberg at his most vulnerable—a director known for spectacle and adventure suddenly diving into the messy, emotional terrain of loss and redemption.
Personally, I think this is where Always gets unfairly dismissed. Critics, including Roger Ebert, panned it as Spielberg’s weakest effort since 1941. But if you take a step back and think about it, the film’s flaws are precisely what make it intriguing. It’s not polished; it’s not slick. It’s a director trying something new, something personal, and not quite landing—but still leaving a mark.
Why Always Matters (Even If It’s Not Perfect)
What this really suggests is that even Spielberg’s missteps are worth studying. Always is a reminder that even the greatest filmmakers aren’t infallible. It’s also a testament to Spielberg’s willingness to take risks. In an era where his name was synonymous with box office gold, he chose to make a quiet, introspective film that didn’t fit the mold. From my perspective, that’s far more interesting than another flawless blockbuster.
A detail that I find especially interesting is the casting. Audrey Hepburn’s final role as the spirit guide Hap is both poignant and underutilized. It’s as if Spielberg wanted to pay homage to Hollywood’s golden age while experimenting with something entirely his own. The result is a film that feels both nostalgic and out of place—a relic of the ’80s that doesn’t quite belong to its time.
The Broader Implications: Spielberg’s Legacy and the Underrated
This raises a deeper question: What does it mean for a film to be underrated? In Spielberg’s case, it’s not about box office numbers or critical acclaim. It’s about the films that reveal something new about him as an artist. Always isn’t just a forgotten movie; it’s a window into Spielberg’s soul. It shows us a director who, even at the height of his powers, was still searching, still experimenting.
If you’re a Spielberg completist, Always is essential viewing. But even if you’re not, it’s worth watching for what it represents: the courage to fail, the willingness to be vulnerable, and the belief that even the most imperfect stories can have value.
Final Thoughts: A Film That Deserves Another Look
In my opinion, Always isn’t just underrated—it’s misunderstood. It’s a film that asks us to look beyond its flaws and see the heart behind it. Spielberg’s love for this story is palpable, and that alone makes it worth revisiting. So, the next time you’re in the mood for something different, give Always a chance. You might just find yourself appreciating Spielberg in a whole new light.
What this really suggests is that even the greatest artists have their blind spots, their passion projects that don’t quite land. But those projects often tell us more about them than their masterpieces ever could. And in that sense, Always isn’t just a film—it’s a piece of Spielberg’s legacy that deserves to be seen, flaws and all.
