Indiana Jones and Raiders of the Lost Ark

1981’s “Indiana Jones and Raiders of the Lost Ark”, directed by Steven Spielberg.

Starring Harrison Ford, Karen Allen, Paul Freeman, Denholm Elliot, John Rhys-Davies, Wolf Kalher, Alfred Molina, and Pat Roach.

Winner of an Academy Award in Best Art Direction-Set Decoration (Norman Reynolds, Leslie Dilley, and Michael Ford), Best Sound (Bill Varney, Steve Maslow, Gregg Landaker, and Roy Charman), Best Film Editing (Michael Kahn), and Best Visual Effects (Richard Edlund, Kit West, Bruce Nicholson, and Joe Johnston).

Nominated for an Academy Award in Best Picture, Best Director (Steven Spielberg), Best Cinematography (Douglas Slocombe), and Best Score (John Williams). 

The Indiana Jones series was based around producer/writer George Lucas and director Steven Spielberg’s childhood experiences of watching weekend matinee serials in the 1930’s and 40’s. Heavy on fun and goofy effects, the series regulars could heroically save the day upon viewing, and return for more the following weekend, for what could be called “B pictures”. Seeking to emulate the spirit and tone of the pictures, while ramping up the commercialization, a minor coup was pulled off in casting former failed actor turned carpenter, Harrison Ford, as the film’s leading man (Tom Selleck was originally offered the role). Ford’s (Dr.) Indiana Jones here is an almost mythic hero, an archaeologist who is as comfortable teaching about archaeology to his class of adoring female students, as he is jumping around on moving trucks while punching Nazis. Spielberg’s efficiency (having a background in TV) served him well, as he plows straight ahead, winking at the audience along the way in this glorified B picture series.

We’re introduced, very gradually, to Ford. Clad in his semi iconic uniform of a fedora, leather jacket, and a bullwhip- which comes in handy more often than you would think- the opening sequence of Raiders is a mini movie that sets up the smooth hero’s wild journey (but often desperate humility). Ford is upstaged by a rival archaeologist (Freeman), who has figured out how to seduce the aboriginals into obeying him. This will not be the first time they meet. Loser of a precious artifact to Freeman, Ford returns home, and is approached by a wealthy benefactor friend (Denholm Elliot) and some American officials about recovering an Ark of the Covenant, that could give some serious power to it’s finder. Being set in the 1930’s, the Third Reich also has a significant amount of interest in the ark as well. Ford beelines for Nepal, to recruit an old feisty flame (Karen Allen) to his cause. The ex-couple’s reunion doesn’t go well, but things get too hot to handle when the Nazis show up (lead by a wonderfully creepy Ronald Lacey), in search of a medallion that will help them find the ark. Ford and Allen head to Egypt, where a friend (John Rhys-Davies) helps them in racing the Nazis to uncover the ark first. Unfortunately, again Freeman is neck and neck with Ford, and Ford will have to deal with his life long fear of snakes, dig, climb, jump, drop, swing, and fight his way to the ark before the Nazis can utilize it’s ancient powers.

The Indiana Jones series seems to suffer from the same sort of nostalgia vs. quality issues that Star Wars does (hardly surprising, since Lucas is so involved in both- you can tell because of the Wilhelm scream foleys). While they’re hardly objectively bad films, the gap between how good the series is, and the retroactive affection for them, seems somewhat large. Here, in “Raiders”, we are introduced to Ford’s Jones, and the fantasy world where archaeology is celebrated like movie stars and celebrities today, and a polarized setting where American treasure hunters want priceless artifacts simply for display in a museum, versus greedy rogues from abroad, as well as the universally reviled Nazis seeking them for their power. On the plus side, Ford can’t be faulted for capably embodying the (somewhat) iconic figure of Jones, John Williams yet again creates a legendary theme score (he’s unbelievable), and Spielberg keeps the action racing continuously throughout (“Raiders”, “Jaws” and “Star Wars IV” could be faulted for creating the breathlessly relentless blockbuster summer complex that we have today).

However, for a fun adventure movie that’s aimed at 14 year old boys (or at least the spirit of such), there is a surprising amount of horrific violence throughout the film, alongside punches that ring so loud it’s surprising the victim’s head doesn’t separate clean from their spinal cord. Violence is part and parcel of why I watch movies (it creates conflict and potential resolution- and it really beats the real thing), but it’s presence and how it is depicted is what establishes a movie’s tone. In particular, when the climax plays out, serving as a horrific take on Pandora’s Box, it’s tough to hum along a few minutes later with the adventurous score over the closing credits. Yay? I also agree whole heartedly with Michael Philips of the Chicago Tribune, who claims Indiana Jones isn’t that interesting of a character- at least not until the third entry… Who is interesting is the Freeman character of Belloq, whom is every bit Jones’ equal, who amazingly enough has convinced the Nazis that he can help them in their quest for the final solution, despite being jewish himself. The chess games between him and Allen are also fascinating masks behind masks parallels that beat any bullwhip assisted swing between chasms.

“Raiders” inspired a prequel, 2 sequels, a television series, and a potential 3rd sequel in 2020, won a variety of technical Oscars, and made just over 20 times it’s budget, so I’m pretty sure I’ll get roasted for my contrarian take- which ironically enough, is always an adventure.

3/5

Trailer: Click Here.