When it was determined that Indiana Jones and the Kingdom of the Crystal Skull would be opening during our time here in Amsterdam it did not take long until it was suggested that a marathon of the first three films be held prior to viewing the new one. I probably do not need to tell you that it I was I who suggested it (see: previous marathons of the Lord of the Rings trilogy (twice), the original Star Wars trilogy (also twice), Stanley Kubrick films and Martin Scorsese films). At least, I assume it was me who suggested it. I don’t really remember the specifics of the origin of the idea. Sorry if I’m stealing somebody’s credit.
In the weeks leading up to the new film, I went through a range of emotions about it. To me, the trailers did not inspire a whole lot of confidence. Though I thought the casting of Cate Blanchett was inspired and I was happy to see Karen Allen back as Marion Ravenwood, I couldn’t help but be pessimistic about Shia LaBeouf’s role in the film. Plus, what was up with all the CGI in the trailer?! Indiana Jones isn’t about CGI, it’s about fantastically corny practical effects, like time-lapsed photography of Toht’s gelatin head melting under concentrated heat. I thought some of Indy’s one-liner’s were pretty good (“You’re a… teacher?” “Part time.”) but I was worried the film would be filled with these mawkish lines.
As the release came closer, early reviews began to pop up online. The first couple I read were fan reviews submitted to Ain’t It Cool News, both of which were generally negative. Mostly they just seemed disappointed at the missed opportunity of the film. Then I read something that truly terrified me. Apparently George Lucas has plans for a fifth film, a film that would star Shia LaBeouf and relegate Indy to the Sean Connery role in The Last Crusade. This seemed like a bad idea on so many levels to me that I became uniformly pessimistic about the prospects of The Kingdom of the Crystal Skull. Over the last ten years Lucas has lost almost all the goodwill that the original Star Wars trilogy earned him, and it appeared more and more that he was going to bring the same level of hackery to Indiana Jones.
Then Harry gave the film a glowing review. The thing about Harry is, though, that you can’t trust a damn thing he says. The guy is just too punch-drunk in love with film to offer any sort of objective analysis. I can’t tell you how many times he’s written an exclamatory review of a film which served to raise my expectations to an impossible level, only to have them crushed on opening night disappointment (see: 300). So now I read Harry’s reviews with the eyes of an interested observer, unswayed one way or the other by his thoughts. Moriarty reviewed the film a few hours later. His thoughts were more tempered, more even, but still positive. Mostly I think he was just relieved, relieved that Lucas didn’t kill the franchise the way he did Star Wars.
Then I read Ebert’s review and suddenly I was hopeful again. It helped that his post was titled “I admit it: I loved ‘Indy.’” But even more so, before he even got into his thoughts on the film, he put my mind at ease. He began
At noon Sunday, I attended a press screening of “Indiana Jones and the Kingdom of the Crystal Skull.” I returned to my laptop, wrote my review and sent it off, convinced I would be in a minority. I loved it, but then I’m also the guy who loved “Beowulf,” and look at the grief that got me … Why did I think I would be in a minority? Because of what David Poland at Movie City News poetically described as “one idiot.” As everybody knows, an exhibitor attended a closed-door screening last week, and filed a review with the Ain’t It Cool News website. This single wrong-headed, anonymous review was the peg on which The New York Times based a breathless story on a negative early reaction to the film. That story inspired widespread coverage: Were Spielberg and Lucas making a mistake … ?
First of all, Ebert confirmed something that I’ve known for a longtime: the majority of people who write to and read AICN are idiots. Their reviews are generally unreliable, but since they’re second to none in getting the inside scoop on films in production, I continue to read it. But it was a line later on in the review that really sold me.
Spielberg at heart will always be that kid who sneaked onto the back lot at Universal and talked himself into a job. He’s the kind of man who remains in many ways a boy. He likes neat stuff. He thinks it would be fun to have Indiana and friends plunge over three waterfalls, not one.
It was this quote more than anything up to this point that put me in the right frame of mind to enjoy the movie. I tried not to get too excited. I’d been burned before. But I slowly returned to the state of cautious optimism that I was able to maintain before the trailers and first reviews hit. I began to think “I might actually enjoy this.”
The marathon began at 1pm on Friday afternoon. The plan was to head out to the theater for an evening screening of The Kingdom of the Crystal Skull after finishing the original trilogy. Only the dedicated few decided to turn up for the marathon: Christy, Alex, Bri and myself. Prepared with plenty of junk food, the blinds drawn and the lights dimmed, we soon commenced.
As Raiders of the Lost Ark started, I tried to think back to when I had last watched the films. I knew that I had received the DVD box set for Christmas the year it came out, and had watched the films shortly thereafter, but I couldn’t remember exactly when that was. I decided it was late high school, senior year probably, and that I hadn’t watched the films since that winter. I soon realized that I had forgotten just how silly and absurd the films truly are. I’m not even talking about the Wrath of God melting Belloq and the Nazis in Raiders or Mola Ram ripping a man’s beating heart out of his chest in the Temple of Doom. No, I’m talking about Indy, Willie and Short Round jumping out of a plane in an inflatable raft, sliding down a snowy mountain side in the raft, then soaring off an impossibly high cliff into the white water below. Well, that and Sean Connery destroying a Nazi war plane with a flock of seagulls. I think it was important that I was reminded of the preposterousness of the first films, because while the one thing that I carried from the films when I was younger was their sense of fun, I had forgotten where exactly this fun came from.
One of the things that I think the first three Indiana Jones films do so well is that they immediately grab your attention. In television, this would be called a cold open, the scene before the opening credits that doesn’t really have anything to do with the rest of the episode, but serves to set the tone and mood. In The Office, it’s Jim dressing as and imitating Dwight. In Raiders, it’s Indy stealing the idol from the Hovitos’ temple. It gets the blood pumping, it gets you excited, it draws you in to the rest of the film. That’s why fifteen minutes into Kingdom of the Crystal Skull I found myself worried and disappointed that I still wasn’t fully engaged with the story. The first and most obvious problem is that we don’t see Indy at all until ten minutes of so into the film. Instead, we get an utterly useless sequence where a bunch of teenagers try and get a military convoy to race them. It doesn’t have anything to do with anything and I could see George Lucas’ fingerprints all over it. Then the convoy pulls up to a military base where they are told they can’t enter because of weapons testing. Even after the commanding officer gets out of his car, the man at the gate refuses to let them through. So the officers in the convoy shoot the guy guarding the gate and break in. By this point, it’s clear that convoy is comprised of Commies, probably KGB agents, but that doesn’t explain why the guy at the gate recognized one of them as his superior. Was the commander a U.S. Officer who switched allegiances? If so, why did he speak in a Russian accent? It didn’t make any sense to me and the fact that I was carrying this debate out in my mind was a testament to how much the opening of the film doesn’t work.
Finally Indy is introduced as he’s thrown out of the trunk from one of the cars in the convoy, which has stopped in front of a large warehouse on the base. He still has the swagger, but something seems off. The Russians, led by Agent Irina Spalko (Blanchett), have apparently kidnapped Indy so he can lead them to a certain crate stored in the warehouse. The first thing that bothered me about this scene as that Indy capitulates way too easily to their demands, leading them to the crate in question with gusto. The Indy of old would never have helped out the Nazis on any task, no matter how trivial, and I found myself wondering at numerous points throughout the film why he continually helped Spalko as much as he did. Younger Indy would have suffered torture before helping the enemy, Old Indy seems to just need a little convincing before agreeing to help out. Ignoring the fact that Spalko’s entire reason for securing the crate doesn’t make any sense beyond acting as a simple plot device, the scene gets even worse after Indy’s improbably escape on a rocket sled, and reaches its nadir when he survives a nuclear blast by hiding in a lead-lined refrigerator. Why I can accept Indy’s skydiving adventure with Willie and Short Round as plausible but not his survival of an atomic blast in a kitchen appliance I don’t know, but the scene simply does not work. Naturally, this scene received the only applause and cheers of the night.
I couldn’t figure out why a scene of Indy being interrogated by an FBI agent bugged me until I realized that the FBI agent was played by the Janitor from Scrubs, at which point I just became annoyed. Needless to say, twenty minutes into the film I was pretty bummed that my reactions so far were more AICN idiot than Roger Ebert. But then something unexpected happened: Shia LaBeouf entered the film and suddenly all the energy and excitement the film had lacked was back in spades. Suddenly, it began to feel like a real Indiana Jones movie. I don’t know what it was about Shia’s 1950s greaser named Mutt that so turned the film around for me. Maybe it was just the fact that I didn’t hate him like a I thought I would. But I think it’s more than that. I think Harrison Ford was better and funnier when he shared scenes with Shia. The dialogue crackled and the jokes worked and film found itself rid of the pacing issues that plagued its opening minutes. It’s basically the father/son relationship in The Last Crusade in reverse, but it really works I think.
From that point on, aside from the saccharine and cloying final scene and numerous issues with Ray Winstone’s character of Mac, I loved the movie. Sure it’s absurd and ridiculous and completely impractical. But that’s what I realized I loved about Indiana Jones as I sat watching the original trilogy earlier in the day. I love that the films aren’t constrained by history or science or physics. I love that they’re unrestrained. And to borrow a phrase from early in the semester, The Kingdom of the Crystal Skull is just as balls to the wall as any of the past films, if not more so. If you can buy into the conceit of the Ark of the Covenant, of the Shankara Stones, of the Holy Grail, then there should be no reason why you can’t buy into this film. Because while it’s ludicrous and over the top, and it is way way over the top, that’s what makes these films great. They’re b-movies you don’t have to feel guilty about watching.












