THE TWO FACES OF SPIELBERG-HORROR VS. HOPE
By Michiko Kakutani
As a child growing up in the 50's, Steven Spielberg knew, just knew, that another magical and somehow terrifying world lay just beyond the placid surface of his family's suburban life. Even the tiny crack in his bedroom wall, illuminated by the hallway light, promised all sorts of awful marvels. ''I remember lying there, trying to go to sleep,'' he says, ''and I used to always imagine little Hieronymus Bosch-like creatures inside, peeking out and whispering to me to come into the playground of the crack and be drawn into the unknown there, inside the wall of my home in New Jersey.'' To this day, Mr. Spielberg says he continues to be fascinated by ''what I think is there but cannot see,'' and that capacity for wonder, combined with a prodigal imagination, has informed nearly all his films from ''Jaws'' to ''Close Encounters of the Third Kind'' to ''Raiders of the Lost Ark.'' In his latest pictures, Mr. Spielberg returns to the suburban milieu of his own childhood, but invests that world with two dramatic and highly disparate visions of the supernatural: ''Poltergeist,'' (opening Friday) which he produced and co-wrote, is a darkly imagined horror movie, portraying a family threatened by the vengeful spirits of the dead; while ''E.T.,'' (opening June 11) the story of a 10-year old boy who befriends an extraterrestrial stranded on earth, is, in effect, a contemporary fairy tale, offering a vision of innocence and hope.