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And yet, soon enough, an iconic moment of heroism personified, with a long line of screen ancestors, supplanted this nightmare: Raiders of the Lost Ark was an almost perfect mean for action-adventure filmmaking. As usual, the lightning-paced, serial-inspired storyline sees Dr.

They are confronted by a wizened old shaman D. These murderous worshippers of the goddess Kali, the Shaman says, is based in the palace of the young Maharajah of Pankot Raj Singh. After comedic hesitations, Indy, Willie, and Short Round reach the palace, and Temple of Doom fulfils the darker horror-movie-inspired edge of Raiders —so much so that the filmmakers unnerved themselves, especially after the result was persecuted as a saga that kept the imperialist precepts of writers like Rider Haggard, Sax Rohmer, and Rudyard Kipling overly intact.

Bad guys these are: The obvious contrast is with Indiana, who is in many ways the quintessential, rugged American male, but who is also a multitalented, innately multicultural man with a vast appreciation and respect for the lore and religions of other peoples.

The essential theme of the series — uncovering profound, often earth-shaking truths through the dusty, lost representative relics of the past — has a quieter added meaning for the potential of humans to understand each other, or pit their primal selves in struggle, in the hunger to grasp such signs and stories, and Indy, broad-minded as he is, has to orientate himself anew every time.

Temple of Doom , whilst making me scared shitless of Kali worshippers, also introduced me to figures of Hindu faith and the pulchritudinous wonders of Indian mythology. Missing from them was the interventionist element exemplified by the fact that Indiana cannot walk away from suffering when he encounters it.

Pointedly, this is the only film in the series in which Indy is entirely shorn of his Stateside associations. When Indy, Willie, and Short Round first arrive in the cursed village, the images of the starving, emaciated locals crowding about them were instantly familiar to me as a child in I was seeing the same scenes every night on television in news reports on famine in Ethiopia.

Short Round himself is an orphan, having been caught by Indy trying to pick his pocket after his parents died in the bombing of Shanghai by the Japanese.

The Jones of Raiders hints at darkness in his soul, described as a mercenary by his mirror-image antagonist Bellocq Paul Freeman , with a suggested edge of the cad in his flirtations with students and sordid past with Marion Ravenwood Karen Allen.

The Indiana Jones films were chiefly a pop-art tribute to the idea of the past, fantasias of exoticism and danger, and even Nazism was just another prop to kick around.

The main problem, which renders this effort inferior to Raiders , is one that has dogged Lucas badly in his efforts since: The greatness of Raiders was in how casual and uniquely antiheroic a lot of its humour was, with a hero who pulls off incredulous legerdemain in battle, but who feels the pain all too vividly afterwards. Some of that is still here, but muted in favour of slapstick. He commences with a moment of nutty cultural hybrid, as Willie sings Cole Porter in Chinese with a chorus of fan dancers before segueing into a Busby Berkeley-esque dance number that exists purely on a plane of ethereal entertainment, declaring, like Willie, that anything goes.

Temple of Doom puts the melody in melodrama. The action set-pieces, like that in which Indy tries to battle the overseer on a conveyor belt before a huge rock crusher, while spasmodically folding up in agony as the Maharajah jabs a pin into his voodoo doll with sadistic relish, have a brute physicality to them that, these days, appears much closer to torture-porn horror than to the plastic action of Michael Bay or the Wachowskis.

The scene in which both Indy and Short Round are simultaneously whipped in punishment is nearly pathological, but it also prefigures the key moment of Shorty reviving Indy from the Black Sleep by searing his flesh: Makes us all feel like well-cared-for children. Then we will overrun the Muslims. Then the Hebrew God will fall.

And then the Christian god will be cast down and forgotten. Temple of Doom is a swashbuckler through and through, and often references the kinds of comedic action seen in older variations on the genre, as trios of armed villains trip over each other and Indy fights off one swordsman by gripping the arm of another swordsman like a puppeteer. Critic Chris Peachment wrote in His credentials as a passionate man of action were still writ large here.

In Temple of Doom , Spielberg seems to unleash the full breadth of his imagination, logic and good taste be damned, and the cumulative effect is often exhilarating, if sometimes genuinely terrifying, to behold. Did you see him as he was presenting an award during the most recent Oscar ceremony? My gosh, he sure did sound tired up there! While I like the action sequences just fine esp.

I know, I know, the Indy films are essentiallyboys fantasies but the series really hit an all-time low with leading ladies on this one. But hey, at least Spielberg got his future wife out of this one. I was 25 when Temple came out and I loved it too-starting with the Anything Goes number. I myself have never really liked The Last Crusade much. I will actually be revisiting it very soon to see what I think of it now.

I like how his character straddles cultures and retains his pluck. I immediately saw what you meant in the Die Hard 2 comparison: The Kingdom of the Crystal Skull is a total mess in many ways, with a bad story and a fragile balance of characters, but it does manage a surprising amount of thematic and emotional relevance to the earlier films.

I was particularly interested by the juxtaposition of the kind of youth culture that would have finally been immediately nostalgic for the film-makers, which you make note of, including not only hot rods and rock music but also the menace of the atomic bomb, against what had been for them the retro tropes of the Jones series: Doom has the most authentic pulp feel of the Jones films, probably because it leaves the Nazis out, and Mola Ram is a hellacious villain.

I like him best confronting Indy on the bridge: Good call, Sam, on the Mola Ram quote. The opening prologue with River Phoenix as a young Indy was very well done, exciting and set up some of his tics later on in life fear of snakes, where he got his hat, etc.

The back and forth between him and Ford is well-played, I thought. Plus, it was great to see Sallah and Brody return and then see them all ride off in the sunset together. What a fantastic way to end the film. As it happens, J. I found it a better film then I had remembered, one that improves significantly as it goes on, especially once Connery enters it.

That and his scenes with Connery in the tank. Yeah, the back-and-forth of Indy and his dad is well handled. But I still vastly prefer the thunderous kick-in-the-teeth force of the first two films, and it lacks their sense of sheer drama.

I also noticed a disturbing number of sloppy edits and rather duly staged soldiers-get-knocked-over-make-funny-now gags and action throughout. The speedboat chase and the motorcycle bit are both rather pedestrian and seemed to have required much more the carefully crafted construction that marked out the first two films.

Relative complaints, I suppose: You could tell that the actual plot mattered less to the filmmakers than the father-son dynamic, on which they really had nothing to say.

It may just be proof that any film from the period see also Die Hard 2 was enhanced or just made more wild by having Bill Sadler in it. I was about 5 or 6 myself when I saw this movie and I loved it. I feel this statement: If anything, I thought that was the one sequence that showed the most energy and it seemed like Spielberg was having a lot of fun with this bit.

There is a lot of energy in the camerawork and he gets good performances out of the actors. I guess it boils down to a matter of taste. Jessica, your viewing experience obviously closely resembles mine. The Last Crusade is the weakest for me because it seems the most programmatically blockbuster-ish of them. And it really scared the hell out of me: Somewhere along the line I discovered that I actually preferred Temple to Raiders though I suppose that could easily be reversed should I see them several more times in the next few years; opinions are like that!

Kingdom of the Crystal Skull is much, much closer to being a comedy with action. I would however say that the comedy tends to be more ostentatious than in Raiders , with whole scenes often devoted to it in the first half, rather than blended in as in Raiders. It tends to alternate very giddily between poles of high melodrama and slapstick. The ties you make between Temple of Doom and its pulp roots — whether deliberate or not — are fascinating reading. I stand in awe of the dark tone and flurry of imagination put up on the screen and found the score by John Williams the most rousing of the series.

For all the charges of racism, as a kid, I actually learned something about India. Actually, thank you for mentioning something I omitted for the sake of space: Thanks for that link, too. I think in general the Indiana Jones films sustained that nobler side.

Although, in the end, it of course has nothing to do with India: I was going to bring it up, myself, earlier, and forgot. Where on earth did it come from except a comedy tradition? Oddly enough, legend has it that Lorre was, in real life, actually a very funny guy and an inveterate practical joker! I think almost all modern action films have an element of Buster Keaton-esque absurdity about them: And there is a close link between this variety of derring-do and the traditions of slapstick — look how closely related they are in silent cinema, for instance: But I still would regard the mining car chase as more action than comedy, as opposed to, say, James Franco driving with his leg out the windscreen in Pineapple Express , which is definitely on the far side of the line into slapstick comedy.

Nothing wrong with making comedy up on the spot. But it eventually became my favorite Indy film. Did I find Willie Scott annoying? Probably because I understood where she was coming from. I would probably be screaming a lot louder than her. And I doubt that I would have been able to save Indy and Short Round in that mining car, the way she did.

Great freaking movie and another outstanding piece!

Indiana Jones and the Temple of Doom () | Ferdy on Films

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