Spielberg can't be blamed for that seismic shift in the industry. Jaws only happened to inaugurate it. If the shark had sunk for good (as it threatened to during the troubled filming), another picture would have ushered in the age of the movie best sellers — maybe Star Wars, in 1977. And no one is more aware than Spielberg of his own weaknesses. When I asked him once to make the case against his films, he grinned and started the list: "They say, 'Oh, he cuts too fast; his edits are too quick; he uses wide-angle lenses; he doesn't photograph women very well; he's tricky; he likes to dig a hole in the ground and put the camera in the hole and shoot up at people; he's too gimmicky; he's more in love with the camera than he is with the story.'"

All true. But you could make a longer list of his strengths, including his direct line to our subconscious. Spielberg has always maintained obsessive quality control, and when his films work, they work on every level that a film can reach. I remember seeing E.T. at the Cannes Film Festival, where it played before the most sophisticated filmgoers in the world and reduced them to tears and cheers.

In the history of the last third of 20th century cinema, Spielberg is the most influential figure, for better and worse. In his lesser films he relied too much on shallow stories and special effects for their own sake. (Will anyone treasure The Lost World: Jurassic Park a century from now?) In his best films he tapped into dreams fashioned by our better natures.

Roger Ebert is the film critic of the Chicago Sun-Times and co-host of TV's Siskel & Ebert

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