2008’s “Indiana Jones and The Crystal Skull”, directed by
Steven Spielberg.
Starring Harrison Ford, Cate Blanchett, Shia LaBeouf, Karen
Allen, Ray Winstone, John Hurt, Jim Broadbent, and Igor Jijikine.
Set in 1957, we see Ford, this time pitted against Russians
(lead by Cate Blanchett, with right hand man, Igor Jijikine). While in New
Mexico, Ford and his partner (Ray Winstone) are overtaken by the Reds, looking
for alien artifacts that will lead them to El Dorado, the fabled city of gold. Winstone
then betrays Ford, and he escapes with his life, while the Russkies get the
valuables. Ford goes back to school for his teachings, but finds his job in
jeopardy because of the government’s views on him helping the Russkies to find
the artifact and get away. Jobless, Ford plans on travelling, when he runs into
Shia LaBeouf, who is looking for a mentor (John Hurt) who was lost while looking
for skull which could lead to the great city. After a greaser/preppie melee and
KGB chase, Ford and LaBeouf take off to Peru to find clues and the Crystal
Skull, and it’s not long before they reunite with old flames and old enemies.
It’s interesting that George Lucas and company, with the
ability to go to pretty much any point in time (remember in the last film,
“Last Crusade”, that Indiana ((and his father)) drank from the fountain of
youth), decide to revisit the muscle cars period of Lucas’ Hollywood coming out
party, 1973’s “American Graffiti” (set in the 60’s). But Lucas’ inability to
see the present (or at least into the 1970’s onwards, which explains why his
prequel Star Wars vehicles sound like old Chevrolets), the favouritism offers
an interesting take on the Cold War years. Indiana Jones no longer just faces
off against greedy competitors and fascist right wing groups, but now also
governments, including his own. Coupled with that paranoia, is the legitimate
fear of nuclear fire introduced during that time. While “Skull” is not the
place to resolve or deal with those themes, it’s an interesting new take for
the adventure franchise that previously gave very little thought to the
cultural backdrop in which it aired.
As for the movie itself, it’s interesting to see how much
things have changed for a zeitgeist that slavishly followed the formidable 80’s
franchise. Even if not successful, many have tried to follow the template of
swashbuckling fun (Tomb Raider, The Mummy, National Treasure, etc), and however
effective, filled a hole in which the Indiana Jones continuing series could
have filled instead. Because of this, “Skull” suffers most from the idea that we’ve been
here before, feeling disposable at times. This lightness shadows what could
have been a commendable performance by the typically reliable Blanchett, but
she is hidden behind CGI chases and shouting at underlings. Contradicting his
exploits from “Crusades”, Ford does look a lot older here (as he should, 27
years after his first Jones film), but to the film’s credit, it acknowledges
his succumbing to his reduced physical abilities. And the film tries to give a
subject for the passing of the torch in LaBeouf, who doesn’t have Ford’s heyday
charisma (besides Eddie Murphy, who did?). Otherwise, “Skull” is entertaining
and moves nimbly, notwithstanding a painful vehicular jungle chase. Could this
be it for our fedora clad adventurer? There’s talk of a sequel for 2020, so
hopefully the bullwhip can support a walker.
3/5
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