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“Let It Go, Indiana”: “Indiana Jones and the Last Crusade”, and the Necessity of Growing Up…

This August, the podcast that I co-host, The 250, is doing a season looking at all four Indiana Jones films as part of our “Indiana Summer.” This week, we’re looking at Indiana Jones and the Last Crusade, and I had some thoughts on the film.

The clue is in the title. Indiana Jones and the Last Crusade was clearly intended to be the last movie in the Indiana Jones series, the title character’s last adventure.

By the time it came to release Indiana Jones and the Last Crusade, both Lucas and Spielberg were clearly drawing down the shutters on the franchise. “Three is a nice number,” Lucas remarked. Contemporary reviews noted that the film was positioned as the “last romp” with the daring adventurer. Shortly after the film’s release, Harrison Ford donated the character’s iconic bullwhip to the Institute of Archeology at University College London. Spielberg would later reflect, “I thought the curtain was lowering on the series, which is why I had all the characters literally ride off into the sunset at the end.”

Hang in there.

There is a sense that the reaction to Indiana Jones and the Temple of Doom might have been a key factor here. After all, the basic premise of Raiders of the Lost Ark wasn’t something that demanded a neat three-movies-and-done structure, particularly when the second movie had actually be a prequel rather than a sequel and adopted a completely different style than its predecessor. As much as it drew from the same kinds of adventure serials that George Lucas and Steven Spielberg had loved as children, this franchise was not Star Wars. It didn’t set out to adopt the mythic triptych structure.

Indeed, contemporary critics made a point to read Indiana Jones and the Last Crusade as something of an apology for Indiana Jones and the Temple of Doom. Opening his review, Randy Lewis joked that Pauline Kael was “probably the only person on the planet” who preferred Indiana Jones and the Temple of Doom to Raiders of the Lost Ark. Early reports talked about Indiana Jones and the Last Crusade as something of a rebound after Indiana Jones and the Temple of Doom had “turned off many critics.”

Bring Your Dad to Work Day was going great.

Certainly, it’s notable that the five year gap between Indiana Jones and the Last Crusade and Indiana Jones and the Temple of Doom was appreciably longer than the three year gap between Indiana Jones and the Temple of Doom and Raiders of the Lost Ark. It seems that there was enthusiasm to make the movie. More than that, while Spielberg had made Indiana Jones and the Temple of Doom following the critical and commercial success of E.T., he only returned to the franchise with Indiana Jones and the Last Crusade after the critical and commercial disappointment of Empire of the Sun.

This perhaps explains the conservative nature of Indiana Jones and the Last Crusade. If there is a criticism to be leveled at the film, it is that Indiana Jones and the Last Crusade feels like a retreat back to the comforts of Raiders of the Lost Ark as much as it feels like anything new. Indiana Jones and the Temple of Doom was bold and novel, but Indiana Jones and the Last Crusade is safe and familiar. Once again, there are Nazis. Once again, there is Sallah and there is Brody. Once again, there’s an erudite man selling out to work with the Nazis. Once again, there is a Judeo-Christian artifact with unlimited power.

Everybody eventually finds themselves at a crossroads in their lives.

Indiana Jones and the Last Crusade is a very conventional and very straightforward sequel, at times even feeling like something of a remake of the first installment. In that way, it recalls Star Wars: Episode VI – Return of the Jedi, which was similarly predicated on reacting against a darker and weirder middle entry in a trilogy by instead serving the audience nostalgia for an original film that they loved. It’s vaguely disheartening, and it perhaps explains the sense of closure at work here. It often feels like Lucas and Spielberg are trying to end the series with a reminder of a widely-accepted past triumph.

It’s notable that Indiana Jones and the Last Crusade arrived in a summer dominated by the sorts of blockbusters and sequels that movies like Jaws and Star Wars had enabled, and which Raiders of the Lost Ark had helped to codify. It seemed somewhat appropriate that Indiana Jones and the Last Crusade arrived the same summer as movies like Lethal Weapon IIGhostbusters II, Star Trek V: The Final Frontier, License to Kill, Karate Kid III and Batman. In many ways, Indiana Jones and the Last Crusade was positioned as a victory lap for Spielberg and Lucas, a standard-bearer in a blockbuster era that they both helped create.

Eternal life or not, you should probably thoroughly disinfect any cup you find here before drinking from it.

Still, what distinguishes Indiana Jones and the Last Crusade from those other films is its not of finality. Indiana Jones and the Last Crusade is not a movie that begs for a sequel. In fact, with due respect to Indiana Jones and the Kingdom of the Crystal Skull, the movies seems structurally designed to all but rule out any substantial subsequent adventures. This is probably one reason, along with casting concerns, why the franchise’s next major film or television project was The Young Indiana Jones Chronicles. Allowing for occasionally appearances from an older Indiana Jones, the only way forwards was backwards.

There’s an endearing and surprising grace to Indiana Jones and the Last Crusade, a sense of the franchise making peace with itself and deciding to call it a day. There’s an interesting maturity in this, which feels arguably of a piece with where Steven Spielberg was at this point in his career.

The original Getting Even With Dad

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The Defenders – Take Shelter (Review)

The Hand are an unequivocal disaster, looming large over The Defenders.

To be fair, this an entirely foreseeable problem. When the Hand were teased in the first season of Daredevil, they were at least interesting. Largely carried over from the Frank Miller comics that were a major influence on the series, episodes like Stick and Speak of the Devil suggesting something uncanny lurking in the shadows behind Wilson Fisk. However, as the Hand emerged from the shadows, they became a lot less intriguing. As they became less mysterious, they become more generic. By the end of Iron Fist, the audience had enjoyed enough of the Hand to last a lifetime.

“I’ll tell you where to Stick it.”

A major part of this problem is the fact that the Marvel Netflix shows cannot agree upon a single unifying theory of the Hand. What is the Hand? What are their goals? What are their motivations? What are their methods? It seems like every other episode had a different idea of what the Hand could be, allowing what had been a fairly simple premise of a secret ninja death cult to evolve into something that could be everything to everyone. With every reversal and twist and reinvention, the Hand became less ominous and more frustrating.

As a result, The Defenders suffers from the decision to build its story around the Hand. Much like the series reveals of Manhattan itself, The Defenders is built on a rather shaky foundation.


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The X-Files – Milagro (Review)

This July, we’re taking a trip back in time to review the sixth season of The X-Files and the third (and final) season of Millennium.

The teaser establishes the mood quite quickly. It is a rather striking opening sequence for an episode of The X-Files, focusing on a writer staring at a blank page. The sequence cuts through time as the writer searches for inspiration, trying to take his cue from the index cards helpfully arranged on the wall. Eventually, the writer makes a grand gesture. He reaches into his chest, and pulls out his heart. It is a very effective opening sequence, one that makes it clear that Milagro will not be a normal episode of The X-Files.

The sequence also makes it clear that Milagro will not will it be a subtle piece of television. The teaser is not a particularly elegant metaphor, but it is an effective one. What is writing but tearing out a piece of yourself? Sometimes you have to wear your heart on your sleeve; sometimes you have to put it on the page. The teaser to Milagro is a very earnest piece of work from Chris Carter, a clear acknowledgement that what follows is a deeply personal piece of work.

Burning heart...

Burning heart…

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The X-Files – Tithonus (Review)

This July, we’re taking a trip back in time to review the sixth season of The X-Files and the third (and final) season of Millennium.

Alas! for this gray shadow, once a man—
So glorious in his beauty and thy choice,
Who madest him thy chosen, that he seem’d
To his great heart none other than a God!
I ask’d thee, ‘Give me immortality.’
Then didst thou grant mine asking with a smile,
Like wealthy men, who care not how they give.
But thy strong Hours indignant work’d their wills,
And beat me down and marr’d and wasted me,
And tho’ they could not end me, left me maim’d
To dwell in presence of immortal youth,
Immortal age beside immortal youth,
And all I was, in ashes. Can thy love,
Thy beauty, make amends, tho’ even now,
Close over us, the silver star, thy guide,
Shines in those tremulous eyes that fill with tears
To hear me? Let me go: take back thy gift:
Why should a man desire in any way
To vary from the kindly race of men
Or pass beyond the goal of ordinance
Where all should pause, as is most meet for all?

– Alfred, Lord Tennyson, Tithonus

Shades of grey...

Shades of grey…

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The X-Files (Topps) Digest #2 – Dead to the World (Review)

This November (and a little of December), we’re taking a trip back in time to review the third season of The X-Files and the first (and only) season of Space: Above and Beyond.

Stefan Petrucha and Charles Adlard are winding at this point in their curatorship of Topps’ The X-Files comic book. The duo have contributed an absolutely staggering volume of work to the line. On top of monthly issues and short stories, there have been annuals and digests. The volume of the output has been staggering. All of it has been written by Petrucha and the vast majority was illustrated by Adlard. The quality has – generally speaking – been quite impressive.

Dead to the World is the headline story in the second “digest” published by Topps comics. As with Big Foot, Warm Heart before it, the format of the “digest” feels a little strange. There is a single (and rather long) comic written by Petrucha and illustrated by Adlard, following by a collection of shorts taken from Ray Bradbury Comics, a somewhat less popular feature of Topps’ comic book publishing line. There is a sense that the format might have worked better as a collection of short X-Files-themed stories for a variety of creators.

Face to face...

Face to face…

Nevertheless, the result is interesting. In many ways, Big Foot, Warm Heart seemed to point at where Petrucha and Adlard would go when they wrapped up their massive twelve-part “Aquarius” mega-arc. With its reflections on human failings and human abuses, it seemed like Big Foot, Warm Heart set the tone for the stories that would follow – like One Player Only or Falling. It offered a tease of things to come, suggesting the humanity could be more monstrous than any mythological creature.

In contrast, it is very tough to see where Dead to the World might have been pointing. Then again, Petrucha and Adlard would be gone from the comic a month after its publication. So perhaps the story’s funereal atmosphere feels appropriate.

Here there be monsters...

Here there be monsters…

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