In one week, we critics will know for sure. The time frame is ten days for the rest of the moviegoing rabble. Barring any cosmic collision or other Earth shattering event, the fourth (and hopefully, final) installment in the chronicles of one ‘part-time’ professor Henry Walter “Indiana” Jones, Jr. PhD will finally unfold. It’s been an astounding 27 years since the original Raiders of the Lost Ark redefined the popcorn action movie, setting up a series of like minded entertainments that would come to dominate the ‘80s. In between there have been two sequels (Temple of Doom in 1984, Last Crusade in 1989) and a TV series outlining the archeologist’s earliest exploits.
And now, a mindboggling 19 years since the last motion picture wrapped up the man’s myth quite nicely, reputation ruiner George Lucas and his blackmailed partners in crime Steven Spielberg and Harrison Ford, are reviving the series for one last shot at…well, some kind of glory. Given the god awful title of Indiana Jones and the Kingdom of the Crystal Skull, the top secret project has seen its far share of controversy. From Ford playing the character at his advanced, AARP-like age (he’ll turn 66 this July), to the pre-production hoopla over the hiring - and unexpected firing - of writer Frank Darabont (who handled similar chores for the property when it was on television), fans have prayed that none of Mr. Star Wars Prequel’s pedestrianism transferred over to this title.
As of today, all signs point to pathetic…or at the very least perfunctory. The trailers have taken the original movies’ mystique and washed it in a veil of forced nostalgia. It wasn’t until recently that we actually got to see parts of the plot, and the From Russia with Love meets Apocalypto vibe isn’t fooling anyone. Now comes the first major death blows - anonymous early reviews on websites like Ain’t It Cool News. Spielberg and company are livid, publically complaining that the first “official” showing for critics won’t be until Indiana Jones and the Kingdom of the Crystal Skull plays Cannes on 18 May (the same day it screens for other media outlets around the US). Yet somehow, secured to a surreal policy revolving around blind bidding and state’s rights, a few exhibitors have seen the movie - and their opinion is not pretty.
In general, most believe the film won’t match the hype, that obsessives who’ve languished over their VHS/DVD copies of the trilogy will be greatly underwhelmed by what’s onscreen. They point to the well-hidden plot (more on this in a moment) and over-familiarity with the material as weak points, while giving marginal praise to what Spielberg and his capable cast do behind the camera (though Shia LaBeaof suffers the harshest words). While it represents the smallest majority of those who will finally establish the critical consensus on this highly anticipated summer stock, it’s clear that, at least out of the starting gate, Lucas’ decision to reprise this franchise is meeting with high expectations and less than satisfied reactions.
And then there is the storyline. Without going into heavy spoiler territory (and if you want to walk in completely unaware, skip this paragraph and move on), Dr. Jones is a now a WWII vet, compelled by the Soviet government to find the legendary Crystal Skull. Apparently, it’s actually part of an alien skeleton (located in Area 51 - how original) and once returned to its rightful resting place, it provides a source of great power. LeBeaof plays a character named Mutt Williams, who may or may not be Jones’ son, and Marion Ravenwood is back as well. The trailer promises Ama-zombies, jungle car chases, and the standard stunt physicality that made these movies so memorable.
Clearly, any return to this character and these movies creates an almost impossible level of fan frenzy. It’s the reason that Temple of Doom consistently remains the least loved entry in the franchise. Of course, coming on the heels of the brilliant masterpiece that is Raiders, it’s not hard to see why. But as with most one-sided perspective, forged out of personal want more than medium needs, a sequel must suffer through the classic cinematic Catch-22. It has to provide more of the same while being different enough to warrant its existence. It has to recapture the old magic while making new, retelling the same story with the same characters while bringing a freshness to both.
It’s a dodgy motion picture paradigm, one that few filmmakers have ever successfully maneuvered. Peter Jackson may have won an Oscar for The Return of the King, the last installment in the Lord of the Rings epics, but many look at The Fellowship of the Ring as the franchise’s best (good luck with those Hobbit prequels, Guillermo). Similarly, The Matrix may have redefined the artform - at least for a few years - but the subsequent slam bam revisits created more hatred than holiness. Spielberg himself, perhaps the only director capable of capturing lightning in a bottle more than once, has been reluctant to revisit his oeuvre. Over the course of 24 feature films, he’s only been involved in four sequels - the three Indiana Jones films, and a Jurassic Park repeat.
Of course, he’s the only director who could pull this off. While marginalized by minds who think it’s easy to make sharks suspenseful, flying saucers fascinating, aging white men heroic, or animatronic extraterrestrials believable, he stands as one the greatest auteurs of all time. While his participation in Indiana Jones and the Kingdom of the Crystal Skull seemed obvious, a lot had changed in his career since Dr. Jones and his Dad rode off into the sunset nearly two decades ago. Armed with a couple of Oscars, and more than enough industry and commercial cred, going back to this already established property seemed antithetical to his own career needs. Of course, imagine the uproar had Lucas left him out of the project all together, or worse, decided to direct it himself.
Perhaps that’s why everything has felt a little forced since the very beginning. The fourth film was announced a couple of years ago, and comments by Ford even indicated the ticking time clock bomb hanging over everyone’s head. While age is never a major issue in Hollywood (the biz will reconfigure any narrative to meet what they consider to be profitable demographic designs), having someone your grandfather’s age play a rough and tumble man of action pushes the boundaries of believability. The early pre-reviews don’t criticize Ford or his performance - they leave most of the vitriol for Master Shia - but with his sagging star power and paltry box office returns, Indie isn’t innocent either.
As the time clicks away to the planned press screening, as both sides gather ammunition and prepare for a fight, as the turnstiles twist and the money starts rolling in, only time will dictate the final legacy for the Indiana Jones franchise. If this movie makes scads of cash (outside the critical accord), you can bet that the suits will be slobbering for more. If it fails to attract an overwhelming financial windfall, this may be the man-myth’s last hurrah. Whatever the case, it may be time to gear down the rabid love for the series to something more realistic. Sadly, like the serials that inspired them, the time may have long since passed for this particular product.