The opening titles of ``Phenomenon'' plant a sly idea that the filmdoes nothing to discourage. We see the star-filled sky, and then the letters ofthe title settle into place with a subtle whoosh. We pick up ``CloseEncounters'' vibes. Not long after, the film's hero walks out under the starsand is startled to see some kind of a weird white light, which zaps him from theheavens. Has he been touched by a UFO? Maybe. The hero is George Malley (John Travol.ta), a genial garagemechanic, of average intelligence, well-liked in his small California town.

After the visitation from the sky, he begins to get smarter. A lot smarter. Hestarts taking out six books a day from the local library and figuring out thingsthat had previously been beyond him. He's able to learn a foreign language byriffling through a textbook. This is not the George people know. It is the lament of ``Phenomenon'' that people do not like theunexpected. They want George to continue to be George, no more, no less, so thathe continues to fill the same predictable place in their lives. A brilliant newGeorge, winning at chess, predicting earthquakes, picking up strange vibes, isdisturbing. ``What is going on, George?'' asks Lace (Kyra Sedgwick), thepretty divorced woman George would like to be dating. ``I need the simpletruth!'' She has the thankless role of the woman who demands an explanation thatthe audience knows is impossible to give: ``I just asked you for one thing,George, and you couldn't handle it!'' It's about the only thing George can't handle; matters of the heartare just as difficult to solve when you're a genius. The only people in town whocan easily accept the new George are Doc (Robert Duvall), who considers him likea son, and Nate (Forest Whitaker), his best friend. With them, George is able toshare his enthusiasm for the daily cascade of discoveries. This is a good role for Travolta, who has an underlying sweetnessand enthusiasm that is well-used here. There's not an ounce of circumspection inhis character, and when he gets his unexpected gift, he wants to share it. Hecontacts scientists and universities, and is startled when the FBI turns up inits obligatory role as paranoid sniffer after suspicious behavior (his interviewwith a federal agent is a small gem). We know the general outlines of the story before, having beenthrough somewhat similar territory with Cliff Robertson's ``Charly'' (1968).

Although Charly was retarded and George is average, they are both transformedthrough their blooming intelligence, and then in the third act, somethinghappens that is not foreseen. I will not reveal what that is, except to say thatthe film will leave you with questions that it does not quite resolve. Maybethat's the best thing. We know what happened to George, but not precisely why,and who's to say if a UFO was involved or not? The heart of the story is in George's character and his relationshipwith Lace (who, apart from her obligatory demands for an explanation, is a goodand understanding woman). The film is essentially a good-hearted story about therhythms of small-town life and the meaning of friendship, and if George's giftis a mystery even to him, at least it inspires a lot of conversation. Like manysmall towns (or movies set in small towns), this one has a bar where the localsprovide a chorus for all of the action, and after George begins spinning paperclips in mid-air and breaking mirrors, they have the material for many a longbeery discussion. ``Phenomenon'' could have been more, I think. It might have pushedthe edges of its story a little harder, and found out things that would be morechallenging, or threatening, to George and the world he lives in. But that's notwhat it's about. It's about change, acceptance and love, and it rounds thosethree bases very nicely, even if it never quite gets to home.