This review has been supported by Chiara Cooper.
If you’d like to support the site, you can do so at my Ko-Fi page.

Released: 24 May 1989
Director: Steven Spielberg
Distributor: Paramount Pictures
Budget: $48 million
Stars: Harrison Ford, Sean Connery, Alison Doody, Julian Glover, John Rhys-Davies and Denholm Elliott

The Plot:
Famed archeologist and adventure-seeker Doctor Henry Jones Jr. (Ford), better known as “Indiana Jones” (or simply “Indy”), begrudgingly teams up with his eccentric father, Professor Henry Jones, Sr. (Connery) to search for the mythical Holy Grail before it falls into the hands of Nazi forces.

The Background:
The brainchild of George Lucas, Indiana Jones was a concept first thought up after filming wrapped on American Graffiti (Lucas, 1973). Inspired by pulp serials, Lucas was initially forced to shelve the project in favour of Star Wars: Episode IV: A New Hope (ibid, 1977) but eventually teamed with Steven Spielberg, Lawrence Kasdan, and Harrison Ford to brave the sweltering temperatures of Tunisia for Raiders of the Lost Ark (Spielberg, 1981), a critical and commercial hit that kick-started one of cinema’s most influential franchises. Its success took Lucas on step closer to his goal of a trilogy of films; however, the sequel (which was actually a prequel) attracted mixed reviews and controversy for its darker aspects, which contributed to a re-evaluation of film ratings. Yet, Indiana Jones and the Temple of Doom (ibid, 1984) was still one of the year’s highest-grossing movies and is often regarded as a cult classic, and the three joined forces for a third entry in 1989; originally conceived of with a haunted house premise, the plot shifted focus towards the legendary Holy Grail. Spielberg, however, was unconvinced, leading to a Chris Columbus-penned script focusing on pygmies and the Monkey King that also dissatisfied the director, who then suggested introducing Indy’s father and using their strained relationship as a thematic parallel to the search for the Holy Grail. Though initially turning down the role as he was only twelve years older than Ford, the late Sean Connery relented and significantly contributed to the characterisation of the elder Jones so he could be a match for his adventuring son. The most significant of Connery’s suggestions was a prologue that established many of Indy’s character traits, a complex and action-heavy scene involving a specially rigged train and a pit partially filled with live snakes. Equally complex was the temple set used in the finale, which was built on hydraulics and gimbals and took twenty minutes to reset for each take; Industrial Light & Magic returned to work on the film’s special effect, utilising clever camera techniques to compensate for the limitations of a tank, the Grail trials, and a combination of make-up and animatronics for the villain’s iconic death scene. With a box office of nearly $475 million, The Last Crusade was the most successful of the original trilogy; critics were largely unanimous in praising the film for returning to the light-hearted roots of Raiders and the humorous and heart-felt relationship between Indy and his dad. The film is generally regarded as the best of the series and it directly inspired a spin-off television series depicting Indy’s youth, but wouldn’t be the last time we’d see Indy on the big screen as, inexplicably, the franchise was revived for a disastrous fourth entry nearly twenty years later.

The Review:
As exciting and captivating as two previous Indiana Jones movies were, we really didn’t learn all that much about the title character; we know he’s a learned professor of archaeology, extremely capable in a pinch, has a shady past when it comes to his reputation and romances, and that he’s made both allies and enemies over the years but there was no sense of his specific background. This mystery was, honestly, a big part of Indy’s allure; there was a roguish quality to him, a subtle complexity that drives his search for lost artefacts n the name of both “fortune and glory” and preserving them for the benefit of others…and the growth of his wallet. Each movie touched upon different aspects of this and his past, with him having left Marion Ravenwood (Karen Allen) broken hearted, him having a cheeky kid sidekick, and seeing him walk a fine line between mercenary and patriot through dialogue, allusions to his past, and just the way he carried himself with both confidence and experience, and yet still being able to adapt on the fly when thrown off by the presence of real magic.

The Last Crusade immediately seeks to delve further into Indy’s character than ever before, however, by opening in 1912, where we find  young Indiana Jones (River Phoenix) as a budding thirteen-year-old Boy Scout. While exploring the caves at Arches National Park in Utah, Indy and his nervous friend, Herman Mueller (J.J. Hardy), stumble upon a group of grave robbers just as they unearth the fabled golden crucifix of Francisco Vázquez de Coronado. Even at a young age, Indy was outraged at the thought of such an important artefact being sold for profit; so much so that he charges Herman with going back to raise the alarm and takes it upon himself to swipe the cross when the robbers aren’t looking. The grave robbers are led by an unnamed individual in a fedora hat (Richard Young) whose entire look Indy would come to adopt as an adult; he’s got the chinos, the jacket, the rugged good looks, and is so impressed by Indy’s gusto that he gifts him his trademark hat after retrieving the cross through more manipulative means. If you ever wondered why Indy is afraid of snakes, this sequence also has you covered; despite initially tossing one away without a second thought, Indy was traumatised when he came face to face with a hissing serpent on a circus train and then took a dive into a literal pit of the slithering reptiles during his dramatic escape. Crucially, this opening shows Indy’s adaptability, moral integrity, and touches upon his tumultuous relationship with his father that is such a focal point of the movie. In the space of about twelve minutes, this opening sequence examples how trouble just seems to find Indy, and that he’s not some invulnerable action hero; he takes a pratfall while escaping on his horse, accidentally slices open his chin with a bullwhip, and crucially is outsmarted by a combination of his youthful exuberance being a constant headache for his father and the authority wielded by adults.

When we jump ahead to 1938, we find the now-the adult Indy finally achieving his lifelong dream of recovering the Cross of Coronado from the robber’s Panama-wearing client (Paul Maxwell), which brings him not only the gratitude of his university colleague, Marcus Brody (Elliott), but also a great deal of closure. Indy is then approached by wealthy businessman Walter Donovan (Glover), a man with a “passion for antiquities” who has contributed generously to Indy’s university over the years. Donovan possesses a stone slab inscribed with Latin text that acts as a map and a guide to the legendary Holy Grail. It’s here where we get a glimpse of why Indy is always so quick to scoff at legends and superstition; not only have countless men died in the pursuit of such stories, but Indy’s father also dedicated his entire life to the pursuit of the Holy Grail at the expense of showing his son any affection, and Indy there for views the Arthurian myth and the search for eternal youth as an “old man’s dream”. Indy is stunned to learn that his father, a “bookworm” with no interest or experience in field work, was not only actively working with Donovan but has also vanished in the process; finding his father’s house ransacked, Indy recovers Henry’s Grail diary and sets out to pick up where his father left out in a bid to rescue him and discover whether the Holy Grail truly exists. Marcus, revealed to have been a close friend to Henry, accompanies Indy on his globe-trotting adventure. Although the bombastic Sallah (Rhys-Davies) tries to help Marcus, the blundering academic is quickly taken hostage; however, Sallah is able to lead the Jonses to him and even accompanies them to the Grail’s location. Indy also runs afoul of the Brotherhood of the Cruciform Sword; led by Kazim (Kevork Malikyan), this secret society is so dedicated to protecting the Holy Grail that they’re willing to die, which they ultimately do when they’re utterly decimated by the Nazi’s superior firepower.

As mentioned, Indy has a strained relationship with his father stemming back to his youth; as a child, Indy always resented that his father was constantly buried in his research into the Holy Grail, to the point where he barely seemed to acknowledge his son. This bitterness was only exacerbated when Henry could offer no comfort for their shared grief over his mother’s untimely passing and runs so deep that Indy preferred to take the name of the beloved family dog rather than be associated with his famous and inattentive father, and consequently Indy is confused when Henry sends him his life’s work and goes missing while working in the field. Henry’s diary contains all of his knowledge and findings about the Holy Grail, including maps, pictures, rumours, writings, and vague musings. Indy is quickly able to decipher it to follow in his fathers footsteps and pick up where he left off, completely unaware that Henry sent the diary to him to keep it safe and in the hopes that he would do the exact opposite. Thus, when Indy is betrayed by Henry’s beautiful colleague, Elsa Schneider (Doody) and left to die, Henry is disappointed and outraged to learn that Indy brought the diary with him and unwittingly helped the Nazis discover the Grail’s resting place. Indy and Henry’s relationship throughout the film is framed by awkwardness and comedy; the aloof professor smashes a vase over his son’s head after mistaking him for a Nazi, constantly carries his briefcase and umbrella, and seems continuously nonplussed, if not aggravated, by Indy’s more adventurous and violent lifestyle. Indy’s usual bravado falters around his father; he regresses somewhat to a childish state, referring to henry as “Sir”, being irritated by Henry’s insistence on calling him “Junior”, and constantly aggravated by his father’s obsession with the Holy Grail and refusal to acknowledge that he wasn’t the most loving father. In contrast, Henry believes that he taught Indy self-reliance and respected his privacy, the very tools which have made him the man he is today, and is quick to brush aside Indy’s plea for a more traditional father/son relationship to focus on the more pressing task of reaching the Holy Grail before the Nazis. Like Henry, Marcus isn’t accustomed to field work and quickly becomes the bumbling comic relief of the movie; far from being a detrimental aspect of the film, though, this results in one of my favourite sequences where Indy resolutely hypes up Marcus as being a capable and formidable adversary, only for us to see that he’s hopeless in over his head amidst the crowded streets of İskenderun and to learn that he once got lost in his own museum!

Indy and Marcus are met in Venice by Elsa, an Austrian art professor who immediately catches Indy’s eye. Having worked closely with Henry throughout his investigation, she appears devastated at his disappearance especially as he had recently become uncharacteristically excited by his findings and continuously notes the similarities between the two Jonses, much to Indy’s dismay. Though angered to find that he didn’t trust her with Henry’s diary, Elsa eagerly (and practically literally) jumps at the chance to get intimate with Indy after their rooms are ransacked and dutifully plays the part of Indy’s assistant when he adopts the questionable guise of a Scottish lord to infiltrate Castle Brunwald, a Nazi-controlled castle in Austria. Indy quickly becomes besotted by her and this, as much as his animosity towards his father, leads to him being easily betrayed by Elsa, who claims the diary for her Nazi superiors, represented by brutal Schutzstaffel colonel Ernst Vogel (Michael Byrne). However, when Indy confronts her in Berlin, we see that Elsa is distraught by their xenophobic and violent ways and simply covets the Holy Grail for her own selfish ends. Thus, like in Raiders of the Lost Ark, the Nazis are used as a means to an end and essentially portrayed as bumbling, glorified henchmen for Indy to shoot, beat up, and embarrass at every turn. Initially introduced as an affluent businessman who desires to locate the Holy Grail and realise every man’s dream of eternal youth, Donovan is well versed in Grail lore, such as its discovery by three Knights of the First Crusade. While Indy scoffs at these bed time stories, he is intrigued and impressed to find that Donovan not only possesses the incomplete Grail slab but also an elaborate manuscript that proves the stories are true. Having worked with Henry in a bid to uncover the Grail’s location, Donovan desperately turns to Indy to complete the quest for the benefit of all mankind but, in actuality, uses both the Jonses, and the Nazis, and even bribes the sultan of Hatay (Alexei Sayle) to realise his dreams of immortality and everlasting youth.

The Nitty-Gritty:
Indiana Jones and the Last Crusade is a u-turn back to the free-spirited adventure and quirky action/comedy of Raider of the Lost Ark; perhaps, in some ways, too much of a u-turn. Not only is the title font now the same as in Raiders, robbing us of the more stylistic Indy logo, but Indy is seen back in the classroom teaching a bunch of lovestruck teenagers before he’s joined by Marcus, who asks all about his latest escapade, and his conscripted into going off on another adventure, just like in Raiders. Interestingly, Indy’s lesson paints archaeology as a decidedly dull profession, where he downplays clichés and excitement of the profession and urges his students to do their research rather than gallivanting across the world despite the fact that this is exactly what he does; the movie even makes this a bit of a joke as, despite Indy’s assurances, X very much does “mark the spot” later in the narrative. As someone who actually enjoyed the darker aspects of Temple of Doom, and how it offered something a little different to the franchise, it is a little disappointing to see The Last Crusade go back to the Nazis and hit many of the same beats as Raiders of the Lost Ark but, thankfully, there’s enough here to make it stand out on its own, not least in the extended opening that shows us Indy’s childhood and the most elaborate action sequences of the franchise so far, but crucially in demonstrating the relationship between Indy and his father.

This relationship is what really sets The Last Crusade from its predecessors and, in my opinion and the opinions of many, makes the film the most enjoyable of the franchise. Who out there can’t relate to trying to earn the respect and attention of their parents, after all? Indy has been striving for this his entire life; even s an adult, he just wants his father to show him some warmth and love but he’s constantly playing second fiddle to his obsession with the Holy Grail or his admiration for antiquities. Even when tied to a chair, the Jonses cannot help but bicker with each other as Henry chastises his son’s foolishness and Indy desperately tries to escape their bonds, only for his father’s clumsiness to cause the room to catch fire! Still, it’s fun seeing Indy put together the vague clues in Henry’s diary, which lead him to desecrate a church (that’s been revamped into a library) to uncover the tomb of a Grail Knight beneath the beautiful water-logged streets of Venice and complete the Grail slab. While Henry’s diary makes it clear just how close he was to uncovering the Grail’s location, he’s still thrilled and even gives Indy praise for finding the tomb and the starting point for the trail to the Grail, the ancient city of Alexandretta. Henry may be aghast at Indy’s penchant for violence and lacks his son’s more physical attributes, often taking the role of an inept hostage or accidentally trigging hidden doors or damaging their plane with erratic gunfire, he’s never short of a biting remark or a disapproving scowl at Indy’s “intolerable” actions. However, he shows a spark of capability when he sends a flock of birds flying into a Nazi plane using his umbrella and gets his hands dirty to rescue Marcus from Donovan’s tank, and is also revealed to be just as much of a ladies’ man as his son since he also shared a bed with Elsa.

In addition to detailing how every recognisable element of Indy came to be, the opening doubles as an exciting action set piece as young Indy is chased by grave robbers to a circus train, resulting in a thrilling chase across the rooftops and through the carriages of a circus train and some close encounters with giant reptiles, an enraged rhino, and a voracious lion amidst the threat of being shot and stabbed. Even as a youth, Indy showcased an admirable fighting spirit; though outnumbered and outclassed by the grave robbers, he was still able to steal the Cross of Coronado from them, got in a few good shots, and temporarily outwit them. While retrieving it as an adult, he’s become adept at using his surroundings to his advantage in a fight, even when fighting in the midst of a raging storm at sea, and at swinging about with his whip. The Last Crusade takes Indy into the heart of Nazi Germany, where he comes face-to-face with Adolf Hitler himself (Michael Sheard), and sees him hilariously masquerading as a ticket attendant aboard the Nazi’s impressive blimp (after). This also results in a riveting chase sequence that sees Henry bungle their escape via biplane and Indy outracing the German fighters in a car. Perhaps the film’s most thrilling action sequence involves Indy chasing after a massive tank on horseback. Despite the insurmountable odds, Indy is able to jam the tank’s cannon, guns down three soldiers with a single shot, and goes toe-to-toe with Vogel atop the tank as his men are crushed underfoot. This sequence again reinforces Indy’s vulnerability as he’s constantly swarmed by armed soldiers, almost crushed against a canyon wall, and appears to go tumbling over a cliff edge along with Vogel and the tank in an amusing fake out that doubles as a poignant moment where Henry finally (if briefly) shows some love and affection for his son.

Thankfully, not all of the darker elements of the franchise have been excised; the walls of the Grail Knight’s tomb are filled with skeletal remains and the sewer-like catacomb is populated by mewling rats, recalling the bug-infested tunnel of Temple of Doom but the most disturbing effect is saved for the finale. Thanks to Henry’s diary, Donovan and Elsa are able to reach to the Canyon of the Crescent Moon, where temple where the Holy Grail is guarded behind three trials. Lacking the preparation and knowledge to best these tasks, Donovan’s soldiers are unable to keep from being beheaded by the temple’s boobytraps, so Donovan mortally wounds Henry with a gunshot to force Indy to venture inside and lead them to the Holy Grail. Once again forced to acknowledge that mysticism is all-too-real, Indy desperately relies on his father’s research to guide him through: realising that a penitent man kneels before God, Indy is able to narrowly avoid being diced by a series of buzzsaws; Indy then steps on the correct floor tiles to spell out God’s true name, though he almost falls to his death when he forgets his Latin alphabet. Finally, Indy faces a literal leap of faith when confronted with a large chasm; though he willingly takes the plunge, he’s stunned to find the path is an optical illusion that leads right to a chamber filled with dozens of different chalices and guarded by an aging Grail Knight (Robert Eddison). Donovan and Elsa follow and are captivated by the treasures; out of spite, Elsa picks an ornate golden chalice that more than meets Donovan’s expectations, but his elation turns to horror when drinking from it causes him to rapidly and agonisingly age into a howling skeleton. Indy chooses far more wisely by selecting a modest cup, which he successfully tests on himself before using to heal his father; a passing line by the Knight reveals that the Grail cannot pass beyond the temple, potentially explaining Henry’s later death and Indy’s lack of everlasting youth in future films. However, Elsa cannot give up her obsession, causing the temple to crumble apart around her; in her desperate desire to claim it for herself, she falls to her death and Indy briefly comes close to suffering the same fate when he’s left dangling precariously with the fabled chalice within reach. He’s talked away from the brink by this father, who touchingly refers to him as “Indiana” for the first time, saving his life, realising Henry’s lifelong dream, and repairing the rift between the Jonses through their shared experience.  

The Summary:
I may have some issues with how Indiana Jones and the Last Crusade regresses the narrative and direction of the franchise in some ways; it takes maybe a few too many cues from Raiders of the Lost Ark at times, which is a little disappointing, but I think it benefits from being the third entry. If it had been the second, these elements might have stuck out as being more derivative but, luckily, The Last Crusade takes everything that worked in the last two films and expands upon them in exciting and unique ways. It might be a little unbelievable that all of Indy’s most important experiences occurred on one Boy Scout expedition but this glimpse into his adventurous youth, but it really helped to show how his attitude and personality was shaped by his childhood. Of course, the heart of the film is the adorable and intricate relationship between Indy and his father. An aggravating authority figure who grates on Indy’s last nerve, the chemistry these two serves is the selling point of this movie and it’s fantastic to see new nuances added to Indy’s character through his interactions with Henry. They’re bumbling adventures with the Nazis are so much fun that I could honestly watch these two get into all kinds of scrapes and go on further adventures, which sadly wasn’t to be but really elevates The Last Crusade above its predecessors while staying true to their pulp origins. Although not as dark as the second entry, The Last Crusade more than makes up for it with some fun action sequences, elaborate boobytraps, and a truly horrific final fate for Donovan. Ultimately, while the three classic Indiana Jones films all have appealing factors and each one is great in its own way, for me The Last Crusade edges out the other two thanks to the efforts of Harrison Ford and Sean Connery and remains the standard barer for the franchise even now.

My Rating:

Fantastic

Is Indiana Jones and the Last Crusade your favourite of the series? What did you think to the chemistry between Harrison Ford and Sean Connery and the relationship between Indy and his father? Did you see Elsa and Donovan’s turn coming and what did you think to the Nazis returning as antagonists? Which of the film’s action set pieces was your favourite? Did you enjoy the opening sequence and the look into Indy’s childhood or was it a little unbelievable for you? Do you think you would’ve been able to best the trails and select the correct Holy Grail? Would you have liked to see more from Henry in a fourth movie and did you think he and Indy had been gifted with eternal youth? Whatever you think about Indiana Jones and the Last Crusade, feel free to share your memories of Indiana Jones in the comments or on my social media.

This review has been supported by Chiara Cooper.
If you’d like to support the site, you can do so at my Ko-Fi page.

Released: 23 May 1984
Director: Steven Spielberg
Distributor: Paramount Pictures
Budget: $28.17 million
Stars: Harrison Ford, Kate Capshaw, Ke Huy Quan, Amrish Puri, and Roshan Seth

The Plot:
Prior to his adventure with the Ark of the Covenant, archeologist and adventure-seeker Doctor Henry Jones Jr. (Ford), better known as “Indiana Jones” (or simply “Indy”), and his enthusiastic young sidekick Short Round (Quan) infiltrated a Thuggee cult practicing child slavery, black magic, and ritual human sacrifice to retrieve a mystical stone and rescue enslaved children.

The Background:
First dreamed up as “Indiana Smith”, George Lucas’s throwback to the heroic pulp serials of his youth gained momentum when he teamed with Steven Spielberg and Lawrence Kasdan and cast Harrison Ford in the now-iconic role. Raiders of the Lost Ark’s (Spielberg, 1981) nearly $390 million gross and widespread critical acclaim meant that Lucas’s dream of a trilogy of films could become a reality and the two set to work on crafting a far darker adventure, one that initially involved fantastical concepts such as a lost world of dinosaurs and a haunted Scottish castle. When Lucas introduced the concepts of a religious cult devoted to child slavery, black magic, and ritual human sacrifice, screenwriter Lawrence Kasdan refused to work on the project, which recycled an excised minecart sequence and other set pieces cut from Raiders. With Spielberg in high demand, there was a sense of urgency to get the script finalised; Lucas jumped at the chance to include a musical sequence and set out to make the infamous dinner scene as gross as possible. Since the Indian government found the script offensive, filming took place in Sri Lanka and made extensive use of matte paintings and scale models; creative lighting also disguised that around eighty percent of the movie was shot at Elstree Studios and incredibly complex miniatures were created by Industrial Light & Magic for the thrilling minecart sequence. Returning star Harrison Ford suffered a spinal disc herniation during filming but soldiered on with the production, and Spielberg even ended up marrying Ford’s new co-star, Kate Capshaw. Although Temple of Doom made slightly less than its predecessor at the box office, it was still one of the year’s highest-grossing movies, however it was met with mixed reviews. Some criticised Capshaw’s performance as annoying, Ke Huy Quan’s character as racist, and were so outraged by the depiction of Indian culture and the film’s darker aspects that it contributed to a change in film ratings. Even Spielberg regretted making the film so dark, but Temple of Doom also received its fair share of praise for its adventurous action sequences, the physical comedy and performances, and it’s been noted as a cult classic. Like its predecessor, Temple of Doom was accompanied by a tie-in videogame and followed by a third instalment five years later, one that was not only much more in-line with the tone of Raiders of the Lost Ark but which also proved the most successful of the original trilogy.

The Review:
Indiana Jones and the Temple of Doom immediately separates itself from its predecessor by opening with a very James Bond-like sequence; not only is Indy in an exotic location, he’s even dressed in an outfit that’s a dead ringer for James Bond/007’s (Sean Connery) famous white tuxedo from Goldfinger (Hamilton, 1964) and cabaret dancer/singer/entertainer Willie Scott’s (Capshaw) song and dance routine that plays over the far more elaborate title sequence is reminiscent of the Bond series’ trademark title sequences. While the first fifteen minutes of the movie owe a lot to the Bond movies, they also establish Indy as something of a mercenary; while he still mentions that he’s a professor at a university, it seems like he’s acting less out of the interests of preservation and more for the profit and thrill of his escapades, which expands upon how morally grey the character could be at times in Raiders of the Lost Ark especially when Prime Minister Chattar Lal (Seth) muses that Indy has had his manhood threatened for his “grave robbing” antics in the past.

Before, we saw that Indy often undertakes what could be described as illegal ventures to the furthest corners of the globe to acquire rare or forgotten relics for the museum and that he was tasked by the United States military to put these same skills to use in service of his country. Here, he’s in a fancy nightclub in the bustling city of Shanghai and doing shady deals with local crime boss Lao Che (Roy Chiao/Ron Taylor) to recover the remains of Emperor Nurhaci. After being insulted when Che sent his sons to forcibly recover Nurachi, Indy takes the clueless Willie hostage in order to get what’s owed to him in a tense showdown between the two that leaves him poisoned and his old friend Wu Han (David Yip) dead from a gunshot and ends with Indy making a hasty and action-packed retreat that lands him in India. Although essentially the adventurous tomb raider we saw in the opening of Raiders of the Lost Ark, Indy still dons his familiar outfit and showcases a respect for local culture and traditions, if only to allow him and his allies safe passage courtesy of a local shaman (D. R. Nanayakkara). Upon arriving at the shaman’s simple village, Indy is clearly unsettled by the misfortunes that have befallen them; in exchange for guiding him to Delhi, the shaman basically demands that Indy detour to Pankot Palace to recover the village’s sacred stone (which they directly attribute to the prosperity of their land) and their kidnapped children from the local Thuggee cult since they believe he has been brought to them by the Hindu God, Shiva, to aid them. While Indy dismisses this as a “ghost story” and recognises that their beloved stone is just one of any supposed sacred rocks, it’s clear to him that the disasters that have befallen the village are directly tied to the missing artifact not because of the wrath of some evil God but from the actions of the destructive cult. However, it should be noted that he’s just as motivated by the promise of “fortune and glory” as he is by the desire to rescue the lost children,

That Indy is so rattled by the kidnapped children might explain why he inexplicably has a child sidekick for this particular adventure; the endlessly enthusiastic Short Round acts as his getaway driver, lookout, and bodyguard, of sorts, with only the briefest explanation offered for how they hooked up (Indy caught the orphaned Shorty, who was living on the streets, trying to pick his pocket). Short Round takes his job very seriously; he insists that Willie refer to Indy as “Doctor Jones”, just like he does, and willingly follows him into every danger while carrying his bags and showcasing a demeanour beyond his years while still being a kid. He tosses out fun puns and exclamations not unlike Dick Grayson/Robin (Burt Ward) from the 1960s Batman show, delights in Willie’s awkwardness and ungainly nature, makes friends with his elephantine steed, and is completely nonplussed by the dangers of the jungle that drive Willie into a screaming frenzy, yet Indy still recognises that he’s a child and makes efforts to shield him from the Thuggee’s brutal ways and even Shorty is disgusted by the food served at Pankot Palace. Indy allows Shorty to follow him into the palace’s hazard-filled tunnels, where he accidentally sets off a series of boobytraps that see them trapped in a death chamber and left to rely on Willie to save them from being crushed by a spiked ceiling. However, Shorty is instrumental in snapping Indy out of the Thuggee spell in the finale; Short Round is forced to dig alongside the other captive children and heartbroken to see his beloved friend a mindless follower of the Thuggee who willingly beats his young sidekick and, Shorty first tries to appeal to Indy’s heart and then drives the poison from his body using a flaming torch in order to bring him to his senses and save Willie from being sacrificed to Kali, the Thuggee’s dark Goddess. When Indy’s busy dealing with the hulking Thugee slave-driver (Pat Roach) in the climactic finale, Shorty again proves instrumental in freeing the enslaved children, and the enthralled Maharajá, Zalim Sing (Raj Singh/Katie Leigh), from their desolate days of endless torture and hardship in the Thuggee mines.

Willie is a natural performer; she’s at home on the stage, in a glittery dress, with all eyes on her and with her every whim catered for. Pampered, spoiled, and basking in the adulation of superstardom, she’s more than a performer; she’s a diva, one who abhors violence and squalor and expects to get everything she asks for even if the conditions don’t allow for it. Curious and bombastic, she forces herself into Indy’s life by interrupting his meeting with Lao Che and ends up being held hostage and treated as an expendable commodity by the conniving crime boss. Positioned as Marion Ravenwood’s (Karen Allen) exact opposite, Willie is literally swept up in his adventure because she happens to snag the antidote he needs and, from there, it’s just one major inconvenience after another for her as she’s taken on a destructive drive through downtown Shanghai, is forced out of a crashing aeroplane, and ends up choking down rancid cuisine far from her make-up chair and room service. When they arrive at Pankot Palace, Willie is initially far more comfortable surrounded by luxury and draped in a dress befitting of a princess but is distraught to find that the Maharajá is a child, thus ruining her chances of seducing him, and that he serves bizarre food that cause her to faint. While she is exasperated by Indy’s lifestyle, she can’t help but be attracted to his rugged handsomeness…and the fruit he brings to her…but their flirtatious banter in the palace ends in a childish game to see who snaps first before they’re interrupted by a Thuggee assassin and Indy’s discovery of secret tunnels in Willie’s bed chamber.

Rather than butting heads with the bungling might of the Third Reich, Indy is faced with a malevolent cult who worship Kali, the Hindu Goddess of power and destruction, with their ways and practices being akin to Satanic rituals and Devil worship. Led by the priest Mola Ram (Puri), the threat of the Thuggees is slowly built up: we see the devastating consequences of their victimisation in the village, the brutal nature of their ways as the protagonists head to Pankot Palace, and clearly see that they’ll stoop to any means (including torture, killing, and kidnapping children) to spread their vitriol across the land. Their influence has infected Pankot Palace through and through; both the Prime Minister and the adolescent Maharajá have been enchanted by the power and allure of Mola Ram, which promises to shake them free of the condescending shackles of the British Empire, represented by Captain Philip Blumburtt (Philip Stone). A malevolent and sacrilegious figure, Mola Ram relies as much on grandeur as he does fear; he appears capable of tearing out human hearts and leaving the victims alive so they can be sacrificed to his dark goddess using a lava pit and keeps his followers entranced through his violent ways as much as the three sacred stones. Although Indy is unfazed by the mysticism surrounding the Thuggee, it turns out that Mola Ram is capable of putting others under his spell using a strange potion and demonstrates that voodoo magic is wielded by the Thuggee when the enraptured Zalim Sing causes him agonising pain by stabbing a voodoo doll made in his image. Furthermore, similar to Raiders of the Lost Ark, the threat of Kali’s destruction is real enough for Mola Ram to set himself the lofty goal of not only slaughtering his enemies but destroying all other deities to allow his dark Goddess to rule unopposed, with him as Her primary enforcer in a world overrun by chaos and bloodshed.

The Nitty-Gritty:
Considering how dark the film becomes later on, it’s a little strange how wacky Temple of Doom can be at times; the melee at Club Obi Wan in the opening is the first example of this strange dichotomy as Indy desperately trips and fights his way to the antidote, punching out a cigarette girl and taking out a goon with a cymbal as balloons fall and screaming patrons run everywhere, and shielding himself from an onslaught of gunfire using a giant gong like it’s a Three Stooges skit! His dramatic escape from Shanghai is hampered by his getaway plane containing a cargo of live poultry and ends with them plummeting from the plane using an inflatable lifeboat, which inexplicably doesn’t result in them being splattered all over the Himalayas, and even surviving a further plunge over a cliff and a raging river in a set piece so over the top that it would make Roger Moore’s Bond blush! Rather than attributing the film’s wackier aspects to Indy’s cheeky sidekick Short Round, it’s actually Willie who is responsible for them; there’s hardly a scene where she isn’t complaining, shrieking like a banshee, or making an idiot of herself with the local wildlife and culture. It’s extremely grating, though at the same time amusing to see Indy and Shorty ignore her screams and discomfort and to see her unknowingly toss away a large snake in a fit of rage while Indy freaks out at the sudden appearance of his worst fear.

The map sequences return, albeit only briefly, as does the score, which is largely unchanged from the first film and Indy remains as adaptable as ever; even while struggling from the effects of Lao Che’s poison, he’s able to impale one of his sons with a flaming skewer and make a hasty exit from Club Obi Wan and he’s not only shown to speak multiple languages but is always well aware of local customs and folklore. Because of this, he knows better than to offend his hosts (even when they’re offering food they cannot spare or serving up eyeball soup and chilled monkey brains) and to apologise when his accusations of Thuggee worship insult Zalim Sing. Actual fisticuffs, gunplay, and whip action are few and far between here; Indy brawls with an assassin in Pankot Palace, leaving him hanging from an overhead fan, the fight with the hulking Thuggee is a brutal affair that ends with the brute being ground into a bloody paste, and the film even subverts the classic ad-lib from the first movie but Temple of Doom definitely emphasises elaborate set pieces more than grounded action. One of the more harrowing is the bug-infested tunnel within Pankot Palace that seeks to outdo the trap-filled chamber from the last movie, but both are surpassed by the Thuggee temple with its massive stone idol to Kali, an actual lava pit, and its elaborate mine. Here, the local children are worked and beaten within an inch of their lives trying to find the last two stones and left begging for death rather than fall under Mola Ram’s dark spell. More importantly, however, this setting allows for easily the most extravagant and exciting sequence of the film, if not the entire series; the minecart chase that takes up a massive chunk of the finale. And what a sequence it is! Although the mines are impossibly huge and there’s absolutely no way they could have built those tracks, especially as the mines are so dangerous and adjacent to an active volcano, a combination of composite effects, highly detailed miniatures, and to-scale practical effects make this one of the most exhilarating set pieces in all of cinema! Sure, some of the effects and composite shots are a little dodgy and the sequence is maybe a little too ambitious, especially given how long it goes on for, and it’s a bit ridiculous that Indy is able to stop their out of control cart with just his feet but this thrilling minecart chase is reason alone to watch this movie and give it some extra props as an under-rated entry in the franchise.

Even with its wackier aspects, Temple of Doom is, without a doubt, the darkest entry in the franchise. Not only is the wholesale kidnapping and torture of children darker than anything else seen in the series (which is saying a lot considering its reliance on Nazis….), the voodoo practises and aesthetic of Mola Ram and the Thuggee cult are a disturbingly violent and gruesome affair. Mola Ram appears to rip out human hearts, immolates victims with his lava pit, has left a trail of bodies in his boobytrapped tunnels, and there’s even a bask of crocodiles waiting to chomp down on human flesh in the finale. If Mola Ram’s heretical attire and ominous demeanour weren’t bad enough, we also have a sadistic little child in the form of Zalim Sing, a disturbing scene where Indy is beaten and whipped into submission, and Willie is left facing her own horrific end when she’s lowered to Mola Ram’s lava pit. After being rescued thanks to Shorty snapping Indy out of his trance, she joins her friends as they fight off the Thuggee and race through the mines, stones in hand, as the children flee to safety. However, Indy, Willie, and Shorty’s escape is cut off when the Thuggee ambush them on a precarious rope bridge with a fatal fall and a grisly end at the jaws of the crocodiles below awaiting them. As crazy and adept as ever, Indy chooses the sever the rope bridge, dooming all of those not secured to certain death and he and Mola Ram fight over the sacred stones while dangling from the bridge. Indy’s knowledge of their religion is what ultimately allows him to outlast Mola Ram; by evoking the name of Shiva, the stones burst to fiery life and the mad priest plummets to his death trying to recover them. Thanks to Captain Blumburtt’s cover fire, the Thuggee are fended off and Indy returns to the village with their children and is hailed as a hero. Having learned a newfound respect for the power and significance of the sacred stone, Indy respectfully returns it to the shaman rather than see it gather dust in a museum and finally shares a passionate kiss with Willie.

The Summary:
I can understand why Indiana Jones and the Temple of Doom is the black sheep of the franchise; it gets very dark and edges away from the high-spirited action and adventure of the first film and seems uncharacteristically mean-spirited at times. Delving into Hindu mysticism and the sprinkling in of a bit of voodoo and human sacrifice alone makes this a more exotic entry in the franchise, one that’s more reliant on elaborate sets and outdoing the boobytraps of the first film rather than globe-trotting. Juxtaposing these darker moments are some of the wackiest action set pieces in a series known for being a little over the top at times; by drawing on the more extravagant aspects of the James Bond films and relying a little too heavily on Willie’s…shall we say “unique”…brand of humour, Temple of Doom feels decidedly at odds with itself at times. The inclusion of a kid sidekick is a strange choice; while Short Round isn’t too annoying, especially compared to Willie, he’s little more than a stereotype and appears to be there primarily to snap Indy out of his trance in the finale and to showcase that the adventurer has a heart of gold, something almost necessary considering his more mercenary nature in this film. However, Temple of Doom contains just as much of the appeal, action, and adventure as its predecessor if not more; as mentioned, the minecart sequence alone justifies a watch and I personally enjoyed the darker aspects, especially surrounding Mola Ram and his gruesome dedication to Kali and the disgusting feast laid before our heroes. For me, Temple of Doom isn’t any better or worse than Raiders of the Lost Ark, even with Willie’s grating and incessant squealing; it’s definitely a different film but I can’t in good conscience rate it any higher or lower than Raiders since I have just as much fun with it as the first movie and personally consider it to be an under-rated entry that’s worthy of re-evaluation.

My Rating:

Great Stuff

Are you a fan of Indiana Jones and the Temple of Doom? How do you think it compares to Raiders of the Lost Ark and were you put off by the film’s darker aspects? What did you think to Indy’s more mercenary presentation and his enthusiastic little sidekick? Who did you find more annoying, Willie or Short Round, and what did you think to the wackier set pieces on offer here? What did you think to Mola Ram and the Thuggee threat and were you blown away by the minecart sequence? Which of the Indiana Jones movies is your favourite? Whatever you think about Temple of Doom, feel free to share your memories of Indiana Jones in the comments or on my social media.

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Released: 12 June 1981
Director: Steven Spielberg
Distributor: Paramount Pictures
Budget: $20 million
Stars: Harrison Ford, Karen Allen, Paul Freeman, Ronald Lacey, John Rhys-Davies, and Denholm Elliott

The Plot:
Renowned archeologist and professor Doctor Henry Jones Jr. (Ford), better known as the adventure-seeking “Indiana Jones” (or simply “Indy”), joins forces with his former lover, Marion Ravenwood (Allen), on a globe-trotting quest to recover the long-lost Ark of the Covenant before the forces of Nazi Germany.

The Background:
Indiana Jones was the brainchild of George Lucas, who dreamt up the concept shortly after finishing American Graffiti (Lucas, 1973). Inspired by the heroic pulp serials of his youth, Lucas initially envisioned the adventurous archeologist as “Indiana Smith” and developed the idea alongside Philip Kaufman before being forced to shelve the project to focus on Star Wars: Episode IV: A New Hope (ibid, 1977). While vacationing in Hawaii, Lucas met with director Steven Spielberg, who was eager to direct a James Bond-style movie, and the two agreed to work together to on the project. Lawrence Kasdan worked with them to plot out action set pieces using miniatures and changed Indy’s surname to “Jones”, defining him as a fallible, but honest, thrill-seeker. Many compromises had to be made to get the script to an acceptable length, including omitting a minecart chase and large aspects of the romantic sub-plot, and Lucas struggled to find financing before Paramount Pictures came onboard. Insisting that a relatively unknown actor assume the title role, Tom Selleck was within arm’s reach of being cast before being forced to drop out to work on Magnum, P.I. (1980 to 1988); Lucas was reluctant to indulge Spielberg’s suggestion of Harrison Ford, but Ford happily signed on and offered his own insight into the character. Location shooting proved both costly and restrictive, meaning Spielberg favoured fewer takes during filming, and the production was hampered by sweltering temperatures in Tunisia; Ford’s later bout of dysentery also saw a lengthy sword fighting scene trimmed down to a far simpler and now iconic exchange. Finally, Lucas’ Industrial Light & Magic and special effects artist Steve Gawley created complex practical effects involving wax blood bags and various camera speeds to portray gruesome melting faces. Raiders of the Lost Ark’s nearly $390 million worldwide gross made it a big hit; it was also met with widespread critical acclaim, with reviews praising the cast, special effects, and pulp escapism on offer. The film kicked off another successful franchise for Lucas and became one of Ford’s defining roles; it spawned not only additional sequels, but also videogames, comic books, and even a prequel series, with the Indiana Jones franchise largely regarded as one of the most influential in all of cinema.

The Review:
Raiders of the Lost Ark does a masterful job of establishing the fortitude of its main character within its first fifteen minutes; framed from behind, in silhouette, and as a confident adventurer who isn’t disturbed by superstition or ages-old boobytraps, Indy leads a small expedition deep into a Peruvian temple. Wily, with his wits ever about him, he’s as capable of defending himself and the map to the golden idol with his crack skill with a bullwhip as he is of braving the temple, regardless of the creepy-crawlies and the dangers within. Unlike the unfortunate Doctor Forrestal, Indy is far more attentive to his surroundings; his whip also doubles as a lasso, allowing him to swing across bottomless pits, unlike his inept guide, Satipo (Alfred Molina, if you can believe that!) Satipo examples the impetuousness of greed and arrogance, a handicap not shared by Indy, thus allowing him to spot the deadly traps that prove Satipo’s downfall. Indy also has the foresight to fill a bag with sand so he can safely retrieve the golden idol from its pedestal and, when this results in the temple collapsing round him, is more than capable of escaping even after Satipo betrays him. Indy is also a professor of archelogy; his ventures are not for personal glory but to bring these long-lost relics into the public eye for the benefit of the museum (though he does profit from his finds). Still, Indy’s reputation proceeds him and sees him directly recruited by the United States military to intervene when it’s discovered that the Nazis are searching for the fabled Ark of the Covenant.

Though fully aware of the mythology surrounding the Ark, Indy isn’t one for tall tales and sees the pursuit of the relic as perhaps his greatest challenge, and of incredible significance to the museum, literally laughing off the concerns of his friend and colleague, Marcus Brody (Denholm Elliott). Obviously a figure of sexual appeal thanks to his rugged good looks and physicality, Indy has more than his fair share of admirers; his classes are filled with lovestruck teens who are more interested in favouring him with forlorn stares and leaving him notes and gifts than paying attention to his lecture about the dangers posed by temples and local superstitions. He meets his match when his journey inevitably causes him to cross paths with Marion, the daughter of Indy’s old mentor, a strong, feisty, independent woman who owns a bar in Nepal and is more than capable of drinking men twice her size under the table and handling herself in a fight. Though angered at being left heartbroken by Indy some ten years ago, Marion has the medallion that reveals the location of the Well of Souls and demands to join his crusade after his actions see her bar go up in flames. Clearly still infatuated with her, Indy’s usually bold demeanour falters when it seems like Marion has been killed and it’s only the intervention of his old friend, Sallah (Rhys-Davies), that keeps him from throwing his life away seeking revenge. It’s thanks to Sallah, an Egyptian excavator who has no love for the poor treatment his people have receive from the Nazis, and his contacts that Indy is able to decipher the medallion, infiltrate the Nazi dig site, and discover the location of the Well of Souls. Indy is also overjoyed to discover Marion was alive and well in the hands of the Nazis, though he’s forced to leave her behind so he and Sallah can get to the Ark before the Nazis.

Indy is dogged at every turn throughout the film by René Belloq (Freeman), a rival archaeologist who ends up allying with the Nazis to help them find the fabled Ark of the Covenant. We get an immediate sense of the differences between the two right from their first meeting; while Indy braves the dangers of his pursuits head-on, Belloq patiently waits on the side lines and simply takes what he wants by force without the need for physical dramatics. A twisted version of Indy whose respect for their profession has dissolved completely, Belloq openly admits to being Indy’s dark reflection, delights in flaunting his superiority over his rival at every turn, and is obsessed with perverting the Ark’s power for his own means. Accordingly, though allied with the Nazis, Belloq doesn’t believe in their cause and sees them as merely a “necessary evil”; when they threaten to torture Marion for information, he attempts to coerce her into telling what she knows willingly but is ultimately unable to defy his Nazi partners directly. The primary antagonist force in the movie, the Nazis have been scouring the globe in search of religious and superstitious artifacts to satisfy the desires of Adolf Hitler for power beyond the measure of mortal men. Their primary representative is Gestapo agent Major Arnold Toht (Lacey), slimy, sadistic man who relies on intimidation and torture to get what he wants. Toht is so committed to his Fuhrer’s will that he grabs the red-hot medallion and ends up permanently scarred meaning that, while the Nazi’s fail to acquire the artifact, they are able to produce a replica.

The Nitty-Gritty:
Just like Lucas’s popular sci-fi franchise, Raiders of the Lost Ark is bolstered by another of John Williams’ unforgettable scores; easily one of the most recognisable themes in movie history, the score from Raiders of the Lost Ark perfectly captures the adventurous spirit of the character and the franchise and brings every scene to life with a fittingly bombastic, pulp glory. The set design and visual presentation on offer here are just as important, and impressive, to the film; set in 1936 and in faraway locations such as the jungles of Peru and the sands of Cairo, the film definitely lives up to its pulp roots in its visual aesthetic. The opening sequence alone is a testament to this, featuring a boobytrapped Peruvian temple filed with tarantulas, cobwebs, impaled corpses, great stone walls and, of course, the gigantic rolling boulder that remains one of the most iconic set pieces of not only this film, but the entire franchise. Equally unforgettable are the scenes showcasing Indy’s globe-trotting travels as we see a red line drawn across a map every time he travels from one destination to another when the film could’ve easily relied on less visually interesting techniques like camera cuts, onscreen text, or fancy wipes.

The film gives the very real sense that trouble naturally seems to find and follow Indy wherever he goes, which is exacerbated by the Nazi’s desperate search for the medallion and the Well of Souls. Consequently, Indy is forced to defend himself at all times; handy with his fists and as equally skilled with a gun as he is his whip, it’s Indy’s adaptability that often helps him out in a tight clinch. Despite being outnumbered and outgunned at Marion’s bar, he purposely spreads a fire to even the odds; he’s also not above fighting dirty, kicking opponents in the balls or simply gunning them down. Indy meets his physical superior when trying to escape from the Nazi’s dig site; here, relieved of his gun, Indy’s goaded into a fist fight by a large German (Pat Roach) who easily manhandles him and he’s only able to triumph thanks to the brute being skewered (thankfully offscreen) by a propeller blade in a sequence that also sees Marion take to a plane’s turret to provide cover. While he exudes confidence when out on an adventure and is clearly very learned, Indy isn’t some infallible action hero; he’s fully capable, yes, and highly adaptable, but he generally always has the odds against him, takes his fair share of punishment, and even gets grazed by a bullet. In fist fights, he’s usually outnumbered or facing armed foes and must use his wits to find ways to tip the balance in his favour. Indy also has a very specific Achille’s heel in his crippling fear, and hatred, of snakes; while this is initially played for laughs during his dramatic escape from Peru, Indy’s forced to face his fear head-on in the Well of Souls first to find the glorious solid chest and then to affect his and Marion’s escape by crashing through the walls of the buried stone crypt. Additionally, thanks to Belloq always being one step ahead of him, Indy is forced to think on the fly to intercept the Ark and commandeer the Nazi truck carrying it after a length brawl that doubles as a thrilling chase sequence.

Victorious in this endeavour, Sallah arranges for the Ark to be transported back to London by ship; onboard, Marion tends to Indy’s wounds, but their intimate moment is soon interrupted by the persistent Nazis, who recapture both Marion and the Ark. Indy manages to slip aboard their submarine and follow them to an island in the Aegean Sea, where Belloq plans to test and witness the Ark’s power before presenting it to Hitler to ensure they have the genuine article. When Indy threatens to blow them all to kingdom come, including the Ark, in exchange for Marion, Belloq calls his bluff; he knows that Indy is just as curious to see the Ark opened as he and, unable to deny it, Indy surrenders to the Nazis. Donning ceremonial robes, Belloq oversees the opening and is initially aghast to find it contains only sand; however, an electrical surge precipitates a wave of malevolent spirits and supernatural lightning that destroys all who behold it. It’s often said that Indy has little to no bearing on Raiders’ plot, that the Nazi’s would’ve been undone by the destructive power of the Ark without Indy’s presence. I’m not sure this is entirely true, however; after all, it’s only because of Indy that the Nazis are even led to the Ark in the first place, which at least accelerates the plot if not directly impacts it, and he’s the one who ensures that it isn’t just left lying around for others to stumble upon. Whatever the case, when faced with the true power of the mythical Ark, Indy orders Marion to close her eyes, sparing them the gruesome, flesh melting fate that befalls Toht and being consumed by the holy fire like Belloq and the other Nazis. Although they survive, and seemingly rekindle their romance, and Indy and Marcus are generously compensated by the United States government, Indy’s frustrated that he’s denied access to the Ark, which has been stored away in a vast warehouse alongside countless other artifacts.

The Summary:
It’s tough to pick between which is Harrison Ford’s more iconic role, Indiana Jones or Han Solo. I suppose it depends greatly on your genre preference; I know a lot of people who aren’t sci-fi fans, so they probably prefer the more pulpy adventures of the world’s most famous fictional archaeologist. It’s not hard to see why; Ford shines in the role, bringing a rugged appeal to the character, who is both very learned and physically capable while also being vulnerable and relatable. He absolutely carries the film, which is only bolstered by a series of impressive action set pieces and special effects, all of which have aged incredibly well thanks to being realised by tried and true practical means and camera trickery. As much as I enjoyed seeing how Indy would get out of each situation, watching him struggle and fight tooth and nail for every advantage, I also enjoyed the dynamic between him and Marion, who’s more than capable of holding her own and gives as good as she gets and really hammers home that, sometimes, Indy is quite a morally grey character. The parallels between him and Belloq were also interesting, if a little one-note thanks to the larger focus given to the more explicitly evil Nazis and the greater narrative concerning the Ark of the Covenant. Ultimately, Raiders of the Lost Ark is adventure in its purest form; a rollicking, enjoyable action-packed romp from start to finish with an alluring main character, a memorable score, and some iconic sequences that deliver as a fresh take on classic pulp troupes made fresh through the film’s undeniable visual presentation.

My Rating:

Great Stuff

Are you a fan of Raiders of the Lost Ark? Were you impressed by Harrison Ford’s performance and what sort of impact did Indiana Jones have on you at the time? Did you enjoy the throwback to the pulp serials of old? What did you think to the dynamic between him and Marion and the parallels between Indy and Belloq? Which of the film’s action set pieces was your favourite? Do you think Indy is largely inconsequential to the main plot? Which of the Indiana Jones movies is your favourite? Whatever you think about Raiders of the Lost Ark, feel free to share your memories of Indiana Jones in the comments or on my social media.