'South America, 1936'
With this brief subtitle begins the greatest adventure movie ever made. It's a small and innocuous detail quickly offering a time and a place; but that's all this story needs when everything is perfectly measured. What transpires is of course one of the best openings on film, with the slow atmospheric build up hiding the lead character in the shadows. We're left waiting for him to show his face, and his abilities. Following a sinister trek through the rainforest our hero makes his dramatic entrance with a quick turn and the crack of a whip. This kind of no nonsense approach shows us what we need to know and what is in store; Indiana Jones is revealed through actions and not words.
This kind of meticulous reveal - both the location and character - sets the scene for a film I have no doubts about putting as the number one in any list of perfect cinema experiences. The dappled jungle lighting casts the protagonist in both light and dark, and his grizzled appearance is matched by his untrustworthy companions. It immediately lends him the aura of someone who isn't the clean cut treasure hunter you might expect. There's a rough and sometimes ruthless edge behind the college professor facade, he's someone who fights dirty and shoots before asking questions. Despite the second sequel softening the mercenary feeling a little here it's set up to provide a few nice layers right out of the gate.
As the story unfolds each sequence is expertly done. In a discussion of Raiders as a simple action movie, the level of craft can sometimes be overlooked. It's so well framed and there are many great moments that the subsequent outings of Spielberg's man with the hat never quite manage to recreate on a technical level. While they are still favourites of mine, the original is on another level. There are several stand out shots that have particularly striking visual elements thanks to the angles and blocking. A monkey laid out on the floor beneath a ceiling fan like a murder victim, a spy standing in a door way as his hired muscle comes in from both sides of the screen; or a villain preparing a red hot torture device viewed through the lattice of a wall decoration.
This emphasis on style is in contrast to the rough and ready, fast shooting, low number of takes approach that is talked about by the film makers. Perhaps having to think quickly added this level of inventiveness. Maybe they just wanted to do something special in an era dominated by sci-fi in the wake of Star Wars. In any case they put together a bar raising adventure. It's not just a light hearted exploit where the iconic fedora never comes off. Except when it is. That's the beauty of it. This is just an action movie, and it is just a callback to adventure serials. In some way's it's just a homage to Secret of the Incas starring Charlton Heston. George Lucas and Stephen Spielberg wanted to make a blend of James Bond and Fred Dobbs, so they did. But the final results are no the sum of these parts, they're strange and magical like the relics being chased.
The film is an example of masters at the top of their game, enjoying themselves as they do it. But without the time or budget they wanted it required a lot of creative thinking and fine tuning. As a result it balances all of the ingredients - unlike Temple of Doom which overplays the supernatural horror and The Last Crusade which pulls things back in favour of bigger laughs and a family centric core. Raiders of the Lost Ark is a well oiled machine firing on all cylinders. It never goes overboard, but it never plays it safe. There's a gritty edge and a warm heart, with equal parts comic book violence and romantic escapade. It's easy to see how this might become too silly but with enough care it works out just right. Sometimes it has a touch of schmaltz, but at the same time it's always a chase to the finish style movie where bad guys are chopped by propellers and set on fire.
One of the best examples of all these parts in motion is the big chase sequence in Cairo. Leaps are made from horses, trucks are hijacked, motorcycles are smashed. The use of music is perfect and the way this sequence is edited uses every part of the screen experience to create something really incredible. It becomes more than just a series of action beats, but a feat of pure cinema. The hero never feels perfectly safe as thugs come at him from every side. The thundering brass echoes the vehicle momentum. It keeps building as he acquires bruises and spills blood on the truck itself. But the sound of it is key, and the way it uses the score by John Williams can never be over stated. Maybe I've said it's a perfect mix once to often at this stage, but maybe it's still true even after repeated viewings.
Another central piece to this balancing act is the cast. That they managed to get together such a strong ensemble is quite something; against all the odds. Harrison Ford could have been written off by George Lucas as being too well known as Han Solo. Ronald Lacey might have considered staying out of film altogether after retiring and working as an acting agent. But the results are all so memorable whether you love or hate these characters. Karen Allen is pitch perfect as the alcoholic, jaw breaking no nonsense side kick. John Rhys Davies is boisterous but never overbearing with perfect comedy timing. Paul Freeman is snake-like but always likeable, with just the right amount of charming sleaze. The alternative names are out there and various screen tests do exist but they will never seem plausible in hindsight.
There are no weak links, and even a smaller role like Marcus Brody is given gravitas with limited screen time by the great Denholm Elliot. He might have become a joke later on in the series but as a simply exposition giving character he's always so good. It helps that the story is also packed with colourful bit players. There's the eye patch wearing 'monkey man' who loudly salutes Nazi spies in broad daylight, and recurring heavy hitter Pat Roach plays both the 'giant' Sherpa and the plane mechanic who come to blows with the Indy during two key action set pieces. There are many others to talk about and almost every minor henchman stands out in some way - these small elements fill every facet of the movie and become part of the story's texture.
There's a lot of luck involved with this kind production even beyond the casting. I don't think I have to talk about the iconic 'bringing a sword to-a-gun-fight' gag being a result of illness for example. Like Star Wars the film making process was plagued with problems that are well documented. But the reality is this could have been Indiana Smith starring Tom Selleck and Klaus Kinski. Thankfully former was unavailable and history was made. I've got nothing personal against any of these alternate universe cuts, but the results speak for themselves. Kinski on the other hand (in line with his reputation I suppose) declared that the script was 'moronically shitty'.
As you might have gathered I don't quite agree with that assessment of the screenplay. Much of the material, and the execution, raises it above the level of a simple quest story or a treasure hunt. There's a lot to be said about the dry wit of the script and its glib mixture of serious stakes and cornball plot devices. There's a lot to enjoy throughout, particularly the dialogue from the bad guys (Major Toht's 'always overdressing for the wrong occasions' quip being a personal favourite of mine). In terms of basic a premise it all works without things ever feeling totally absurd. The biblical mythology is quickly used as a setup but the images are never heavy handed. It helps that the aura of power and mystery surrounding the arc itself is fuelled by film making magic; in both the visual effects and the musical score.
The characters themselves are painted with broad strokes but they're often afforded a subtle level of depth in the quiet scenes. Marion gets a quiet moment alone with her father's last artefact, right before the pyrotechnics begin. The romance is underplayed as Indy falls asleep after his chase ordeal, providing the story with a group of underdogs who are constantly pushed to the edge. The whole outing thunders along at a great pace, but each set piece is broken up with moments like this that are never boring and always add something of worth. Indy's lowest point in the story is just dark enough as he drowns his sorrows and argues with his nemesis, lending them both a kind of humanity that could easily be cut from a weaker script. Even René himself is at least a little conflicted with his ego on one shoulder and his financiers on the other.
It's been said by some that it all just runs out of steam in the third act around the time with the submarine, during those last moments before the Ark is finally opened. But I can't agree. After all, a little respite makes that face melting finale all the more amazing. This slower chapter of the finale is in keeping with Indy's physical state after all. It also means that the adventure can become quieter before building back up to the excess of the famous 'power of God or something' conclusion. Is this the greatest story ever told? It's quite a personal choice but I have no qualms in choosing it. Where else could you find such a wonderful ride coming to an end with both exploding heads and a touch of light sentimentality?
Melting villains, truck chases and monkey spies might not be for everyone. Even among fans of this trilogy it's a tough call which is the best, but this one just has a special quality about it that is hard to describe. Other stories might be more classical in their narrative arcs, and others might resonate more deeply on an emotional level. Many have more complex characterisation, more moral ambiguity or sharper dialogue. But for me this is a perfectly eclectic mixture of high octane thrills, silly banter and orchestral wizardry. There are obviously other five star experiences in this countdown, and they each have their own merits. Some days it might be more difficult to choose between them than others, and the list is often moving and shifting around. But this is always going to be number one.
5/5
