It's tough to fault a film which begins with one of the very greatest set-pieces of all time and one of the most iconic images in film. Raiders of the Lost Ark's constant "outdo the last scene" mentality means that each scene is more bombastic than the last, moving from a giant boulder rolling after our hero to a nail
biting truck ride through the desert to the head-melting power of the ark itself. As well as this we have the introduction one of the greatest characters ever committed to celluloid, one of the most recognisable scores of all time and one of the most whip-smart and funny scripts of the 80s. And besides all these technical factors the overriding factor of the film is the fact that it's fun. Constantly. Impossibly, ludicrously, timelessly fun.
When Indiana Jones is set on the hunt for the legendary Ark of the Covenant, he soon finds out that he's not the only one and that his competitors will stop at nothing to get there first.
Stephen Spielberg had already made some incredible films, Jaws being the main one with Sugarland Express and Close Encounters of the Third as well. But he'd just made his first truly bad film with 1941 and he needed to get back on track. Well, he did. In his typically restrained though rich imagery, Spielberg makes every shot count every time. His understanding of his audience is shown through the nuance of each shot, whether it's the zoom in on a slowly turning Indy as he sees the boulder bearing down on him or the wide expanse of a hillside teeming with bloodthirsty natives. The fact that he's able to sustain this inspired imagery the whole way through the film shows his immense passion and expertise in his craft. He's able to handle the big moments as well as the smaller ones like the moments between Marion and Indy. He also subtly adds humour into everything he does, something added to immensely by Harrison Ford's fantastic performance as Indy.
It's this performance that elevates the already fantastic character of Indiana Jones to something mythical. Whether it's a wry smile or a look of complete confusion, Harrison Ford creates a character who is not only someone to root for but also completely human in his limitations and the fact that, in his own words, "I'm just making this up as I go!" Karen Allen plays Marion Ravenwood, a girl with more fire than most of the action hero dames of late. She, like Ford manages to wring humour out of every situation as well being damn scary in others. Critically, and here's where all other action movies should take not, she's not just the princess to be rescued. Sure there are times when she in trouble and calling for Indy to give her a hand, but a lot of the time she's working on getting herself out of trouble, drinking her captors under the table before whipping out a knife, fighting side by side with Indy, she is in no way Indy's inferior and she's brilliant to boot. Thanfully we don't get treated to a spiel about women are just as good as men, preferring to talk with her actions. These two are a fantastic double act as well as being great on their own. Their often fiery conversations are as hilarious as they are telling about the undercurrent of sexual tension and they constantly try to outdo each other. The rest of the cast perform well too, John Rhys-Davies' Sallah is a booming delight and Paul Freemon's Belloq is fantastic as well.
Whether you've seen the film or not, it's difficult to have gone through life without hearing John Williams' amazing score. A perfect combination of upbeat and triumphant, Williams' main theme soars through the thrilling moments, making them that much more thrilling to watch. Typical of Williams he punctuates the action, drama and thrills to equal effect, each one with its own iconic sound and each one linking together in a beautiful harmony. It's an amazing achievement though, in a body of work this incredible, it's almost just another day at the office for Williams. He is the undisputed master of score and this is one of his most unforgettable masterpieces.
Lawrence Kasdan's script is another of the factors in an already fantastic movie. Each line is quotable and memorable, specifically because he never says more than he has to say. In a brilliant display of understanding his character, Kasdan offers up lines which suit Indy to a tee; funny, dry and sardonic. The delivery of the actors may makeable certifiable gold but Kasdan's words should be an inspiration to action writers from now till kingdom come.
There might only be a dozen films ever made that you can watch anytime in any mood and this is among them. Vintage Spielberg, Ford at the top of his game and, of course, that theme. What more could you want?
Defining Scene:
That first brilliant scene. Despite the increasingly fantastic action set-pieces, for a start to a film and an introduction to a character, you don't get much better than this.
Quotes:
Where shall I find a new adversary so close to my own level?
Try the sewer.
Throw me the idol, I'll throw you the whip!
You're not the man I knew ten years ago.
It's not the years honey, it's the mileage.
Snake. Why'd it have to be snakes?
Asps. Very dangerous. You go first.
I don't know, I'm making this up as I go!
July 31, 2009
Top Critic
