30 Years of Rip Roaring Adventure: The Indiana Jones Story
Tim Matthews returns after a hiatus, and takes a look at Indiana Jones.
After producing his first feature length film, THX-1138, George Lucas began toying with the idea of making a film that would hark back to a long past era of cinema; the Saturday matinee adventure. These were low budget, high concept adventure series that would usually centre around some kind of Superhero, adventurer or scientist as they went on a quest to save the world. Each instalment would end on a cliff-hanger, compelling audiences to flock back the next week to see more. Lucas had two ideas to fit into that format that he wanted to develop. One was a sci-fi story about a young farm boy who finds himself on a quest to save the galaxy from an evil empire. The other was a tall tale of a university archaeologist who, in his spare time, goes on quests for legendary religious artefacts (in this case, The Ark of the Covenant); a rugged, classically styled hero named after Lucas’s dog. That story was quaintly called The Adventures of Indiana Smith.
Of course, the ‘farm boy saves the galaxy’ yarn went on to become one of the most successful films of all time, and consequentially Indiana Smith, written in 1973, was shelved as the Stars Wars series became an unstoppable sensation. It wasn’t until 1977 that Lucas would return to this project. Retreating to Maui on a much needed holiday and to hide out from all the attention Star Wars had garnered. Joining him was another young film maker who was vacationing after the production of Close Encounters of the Third Kind, Steven Spielberg. Lucas was eager to get Indiana Smith into production as a down to Earth antidote to Star Wars. This time though he was reluctant to direct as he also had to get working on The Empire Strikes Back (20th Century Fox had Lucas under a two film contract), Spielberg was also looking for a new project to direct and Lucas managed to convince him Indiana Smith was the project for him. Spielberg however, didn’t like name so quick thinking Lucas suggested a change from Smith to Jones and Spielberg agreed it was a good fit. The following year Lawrence Kasdan was enlisted to write the screen play and Frank Marshall as producer. The four worked on the story and after a long casting process, which saw the likes of Tim Matheson and Tom Selleck vie to wear the famous fedora, Harrison Ford was cast as Dr Jones. The rest, as they say, is history.
In June of 1981, the film, now titled Raiders of the Lost Ark was released in cinemas. It was an instant smash. Produced on a budget of around $18 million it grossed approximately $385 million; a margin that means it still holds a place in the top twenty highest grossing films of all time. It also won four of the eight Oscars it was nominated for. These were for Best Sound, Best Film Editing, Best Visual Effects, and Best Art Direction-Set Decoration
It’s easy to see why it was so successful. As mentioned earlier, Lucas had intended to create a film that harked back to the Saturday matinee serials and Indiana Jones certainly did that. The story was suitably high concept, the central character a rugged adventure who didn’t let much faze him and the film thundered along at a relentless pace, in turn creating some of cinemas most iconic action scenes — scenes such as Indy’s pursuit of the Nazi trucks on horse-back and his close encounter with a snake pit. It was more than just a B-style action/adventure film though. Spielberg’s classy direction style undermined its low budget origins. His way of balancing the action and humour with moments of high drama and characters that you genuinely cared about, who had believable relationships with one another gave it the air of a much more epic production; in places its comparable to the films of David Lean (see the scene in Nepal when Indy is reunited with Marion Crane and when he uses the Staff of Ra to locate the Well of Souls), films like Lawrence of Arabia, Bridge Over the River Kwai and Dr. Zhivago. Another element that set Indiana Jones apart from other action movies was John William’s now legendary score, containing such iconic moments as the ‘Raiders March.’ It not only perfectly set the scene, mood and feel of the film from the outset; it also gave Raiders and subsequent Indiana Jones, it also gave Indy his own identity. The pomp and grandeur of the Raiders March instantly suggests high adventure and escapism set against an epic backdrop.
Inevitably, as with any highly successful movie a sequel was not far behind. In 1984, Spielberg, Lucas and Ford were back with Indiana Jones and the Temple of Doom. Chronologically it’s a prequel to Raiders of the Lost Ark, eschewing the Pre-World War 2 fight against the Nazis for a mid thirties setting that opens with Indy going up against mobsters before finding himself in the depths of the Indian jungle alongside Kate Capshaw’s Willy Scott and new sidekick, Jonathan Ke Quan’s Short Round as they fought a religious cult to retrieve some ancient stones that provide the life of a poor village.
Despite being 1984’s top grossing film, Temple of Doom was not as well received as Raiders Of The Lost Ark. Reviews criticised its darker tone and that it was too intense for the younger audience members. Scenes such as a high priest removing a man’s heart with his bare hands would testify to this. That particular scene was trimmed down considerably for the film’s home video release and some action scenes were also cut to ‘tone down’ the violence.
Another criticism laid at Temple of Doom was that it lacked shape and structure. This is partially true. The first film followed a structure similar to that of the James Bond movies; we were introduced to character while he was mid way through an adventure, then we move on to him being briefed on his next mission, followed by the quest itself and finishing with a big set piece finale. With Temple of Doom, we did join Indy midway through one of his adventures but then we are thrown straight into the next one without much slowing down of pace. To call this a failing of the film however, is unfair. The audience is not in need of a reintroduction to the character and that means that the next film can hit the ground running and put us straight into the action. It also keeps the film in keeping with Lucas’ original idea of a 1940s serial matinee. Films such as Rocket Man and Flash Gordon would often bring their character back mid-adventure into their new stories.
For the next film Spielberg and Lucas took a bit more time, bringing Indy back to the screen. After the lukewarm reception to Temple of Doom, they felt the need to ‘apologise’ with the third instalment. To do this, they decided to go back to the original formula that made Indiana Jones such a hit in the first place; the classic narrative structure and Indy in a race against time with the Nazis to find a religious artefact that could give the owner the power to take over the world.
The film was, of course, Indiana Jones and the Last Crusade. It had all the elements that were ‘classic’ Indy as mentioned above but Spielberg also threw something a bit different into the mix. The first was Indy’s introduction. As per the previous two films, we meet Indy midway through an adventure but this time we meet Indy as a boy scout, on his first adventure (here he was played by an up and coming River Phoenix). The second new element to the franchise was the teaming up of Indy with his father, Dr. Henry Jones Sr. In a masterstroke of casting, Sean Connery was chosen to play the part. Despite being only a few years older than Harrison Ford, the chemistry between the two actors and the humour that came out of their interactions made the relationship completely believable. Connery’s performance was so good that in places he is in danger of stealing the show from the rest of the cast. Happily, Harrison Ford, Denholm Elliott and John Rhys Davies all turn in strong enough performances that they are not overshadowed by him.
The Last Crusade was a huge success with audiences and critics alike. It had the third highest opening weekend of 1989 and went on to gross almost $450 million worldwide. The film was praised for being the wittiest and most humorous of the series whilst also harking back to the boys own adventure stories of the 1940s and 50s. It has since, for many fans, become the favourite of the series and a classic in its own right.
Audiences would have to wait almost another twenty years to see Indiana Jones on the big screen, but the character didn’t just slip into obscurity. In 1992, The Young Indiana Jones Chronicles debuted on television. Telling the story of Indiana as he grew up from a young boy to a spy in World War One and onto making films with Howard Hawkes before becoming the Indy we all know and love. The series was a big success with fans but unfortunately due to the high production costs, the series was cancelled after a year. It did return in 1996 for a set of made for TV movies known collectively as The Adventures of Young Indiana Jones.
Indiana would not return to cinemas until May of 2008 in Indiana Jones and the Kingdom of the Crystal Skull. When it was announced a couple of years before that Spielberg, Lucas and Marshall would be reteaming to make another Indy film, anticipation reached fever pitch. Fans scoured the internet for news and leaks and any information they could gleam. Not everything they found however was to their liking. News that Indy would be dealing with Communists instead of Nazis and that the ‘macguffin’ would be extraterrestrial in nature, were met with scepticism. The news that Shia La Beouf would be joining the cast as Indy’s new sidekick also left a sour taste in fan’s mouths though that would prove to be undeserved but more on that later.
When Kingdom of the Crystal Skull was released, many viewed it as a disappointment. The reviews were lukewarm at best. Many criticisms were levelled at the film being very formulaic and too ‘slick’ and over produced. Fans reacted badly to the cold war setting and the inclusion of aliens but these criticisms are unfair and there is much that the film needs to be praised for. There was much concern over whether an aging Harrison Ford could still convince as a man of action but from the moment he puts on that famous fedora, it’s like he was never really away at all. He still has that gruff exterior that belies a thrill seeking adventurer and adds an element of a man who may be out of his time as the world progresses around him. As for Shia La Beouf, he puts in one of his best performances; nicely juxtaposing an angry young man with that of one who is still searching for his place in the world whilst approaching the revelations of the plot with wide eyed wonder.
Admittedly, there are elements of Kingdom of the Crystal Skull that are very far-fetched and don’t always work (Ray Winstone is very out of place and superfluous) but for every nuclear bomb proof fridge and swinging with the monkeys scene, there are thrilling set pieces such as Indy’s escape from Area 51 and the chase through the university campus on the back of a motorcycle; all classic Indiana Jones moments. One element of this film that is particularly special is the return of Karen Allen as Marion Crane. In Raiders of the Lost Ark, the chemistry between Ford and Allen was palpable and in Kingdom of the Crystal Skull they slip back into with ease, their banter producing some of the film’s most heart-warming moments.
The 1950s Cold War setting also works perfectly. One of the things that the Indiana Jones films have always done well is create a sense of place and time. Kingdom of the Crystal Skull is no exception, the film opens with hot-rodders that remind of us of Lucas’ own fifties set film, American Graffiti and goes on to give us Marlon Brando like greasers and Area 51. This setting also helps to add to the sense that Indy is feeling his age and that the world is moving too quickly around him giving the proceedings a sense of depth and gravity. As with the previous films evoking a sense of the serial adventures of the forties, this film harkens back to the sci-fi B-movies of the fifties and gives them a modern sheen. Despite misgivings about Kingdom of the Crystal Skull, excitement levels are on the rise again at the prospect of a fifth Indiana Jones film. There is still speculation about whether this will happen at all and if it does what the story will be.
Whatever happens, the Indiana Jones films will always have a special place in cinema goer’s hearts. Their influence lives on in the form of films such as The Rocketeer, the National Treasure franchise and the upcoming Captain America: The First Avenger. Long may it continue and here’s to another 30 years of rip roaring adventure.
Tim can be found on Twitter.
