The Fabelmans gives a sense of the fraught family dynamics and childhood experiences that shaped the director’s talent for spectacle, terror and delight in movies such as Jaws, Indiana Jones and Jurassic Park.
of Indiana Jones and the Temple of Doom, the venerable American critic Dave Kehr memorably dismissed Steven Spielberg's rollercoaster hit as betraying "no human impulse higher than that of a 10-year-old boy trying to gross out his baby sister by dangling a dead worm in her face".
Spielberg discussed the film with his mother before she died. He recounted her words to Time: "There’s a little bit of this story in all your films." "Movies are dreams," says his cherubic, faraway mother, Mitzi , ahead of the screening with his father, Burt , but the film's climactic, calamitous train crash soon becomes Sammy's nightmare – and the thing he can't look away from.
Driven by Burt's electrical engineering job, Sammy's loving but restless clan are constantly on the cross-country move, in many ways reflecting the aspirational journey of the postwar Jewish family attempting to assimilate with whitebread America. At the same time, The Fabelmans is the first instance in which we've seen Spielberg reckon with his upbringing without the analogy of, say, extraterrestrial visitation or meddling poltergeists, a late-career director examining his life in a film that he quipped – in the wake of losing both his parents, in 2017 and 2020 – amounted to "It's only the third – after A.I.
His treatment of Mitski's whims – her impulsive pursuit of a tornado that looms, War of the Worlds-style on the suburban horizon – and her irrepressible emotions – a family-rupturing affair with Burt's best friend, Bennie – is rich with empathy, with the understanding that, in his mother, there resides so much of himself.
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