Redux: Raiders of the Lost Ark.

Redux Review #168: Raiders of the Lost Ark.

Cast: 

Harrison Ford (Indiana Jones), Karen Allen (Marion Ravenwood), Paul Freeman (René Belloq), Ronald Lacey (Major Arnold Toht), John Rhys-Davies (Sallah), Denholm Elliott (Marcus Brody), with Alfred Molina (Satipo), Wolf Kahler (Colonel Dietrich), Anthony Higgins (Major Gobler), Vic Tablian (Barranca / Monkey Man), Don Fellows (Colonel Musgrove), William Hootkins (Major Eaton), Bill Reimbold (Bureaucrat), Fred Sorenson (Jock), Patrick Durkin (Australian Climber), Pat Roach (Giant Sherpa / 1st Mechanic), and George Harris (Simon Katanga) Directed by Steven Spielberg (#126 - Close Encounters of the Third Kind).

Review: 

"Indiana Jones was never a machine. I think one of the things we brought to the genre—and we didn’t coin the genre; it’s been around a lot longer than we’ve been around—but one of the things that George [Lucas] and I and, originally, Larry Kasdan, the writer of Raiders of the Lost Ark, brought to the genre, was the willingness to allow our leading man to get hurt and to express his pain and to get his mad out and to take pratfalls and sometimes be the butt of his own jokes. I mean, Indiana Jones is not a perfect hero, and his imperfections, I think, make the audience feel that, with a little more exercise and a little more courage, they could be just like him. So he’s not the Terminator. He’s not so far away from the people who go to see the movies that he’s inaccessible to their own dreams and aspirations."

What is it about Indiana Jones that drives so much fascination after 45 years? As the story goes, George Lucas, fresh off American Graffiti, had ideas in mind about wanting to do a movie like the ones he used to see a kid. He thought of doing an adventure with a college professor who basically was like James Bond on as "a bounty hunter of antiquities" that liked the nightclub. A little collaboration with his friend Philip Kaufman (director of films such as The Great Northfield, Minnesota Raid [1972] and The White Dawn [1974]) led to the ditching of the nightclub but also led to the pursuit of the Ark of the Covenant. Lucas paused on the idea when Kaufman was off to direct The Outlaw Josey Wales (1976) to focus on, well, Star Wars (1977). Incidentally, one person who wanted to do a Bond type of adventure thriller was Steven Spielberg; the success of Star Wars in May 1977, with Lucas and Spielberg each on vacation in Hawaii, spurred things along for an eventual collaboration (after months of Lucas waiting to see if Kaufman would do it fell through). Spielberg brought in Lawrence Kasdan, who Spielberg suggested because he had just convinced Universal Pictures to purchase Kasdan's script for Continental Divide. They spent several days in 1978 doing a pitching session that argued and paced out what would happen in the story (which you can find here, because it was taped). Kasdan was once quoted as stating that everything in the film "resonates from other movies", specifically adventure films like Seven Samurai to The Great Escape, where they chased that feeling while the film did not take itself too seriously*. Filmed in 1980, Raiders was Spielberg's sixth feature film as a director, falling right between 1941 (1979) and E.T. the Extra-Terrestrial (1982). It was released on June 12, 1981 with mild expectations because of the impending release in America of Superman II that was coming on June 19 (incidentally, audiences could also choose between Raiders or Clash of the Titans, or History of the World, Part I); the result was a massive hit that reportedly saw over 70 million tickets be sold in a time when people could see a movie in theaters for a year. It was nominated for nine Academy Awards that went down from Best Picture to Cinematography, winning for art direction, editing, sound, visual effects, and a special one for sound editing (that year, Chariots of Fire, a movie that I'm sure everyone knows beyond that one song, won Best Picture*). There were four sequels of varying quality (Temple of Doom - really good, actually; Last Crusade - a charmer; Kingdom of the Crystal Skull - better the next time around; Dial of Destiny - fine the one time I saw it) and a television show with The Young Indiana Jones Chronicles.

It's easy to go on and on about the influences that shaped Indiana Jones (matinee serials, China [1943], Secret of the Incas [1954], others) or just go point by point about the beauty of the film from its cinematography by Douglas Slocombe or the tremendously diverting score by John Williams all the way down to Harrison Ford being the one to lead it over, say, Tom Selleck. It was released in a time where you could show multiple people get shot (along with the whole Ark thing), snakes going around dead bodies, blood splatter right as a dude gets chopped by a plane blade...and get a PG rating. The easiest way to describe the movie is that it is an adventure with tremendous respect for its viewer that has something for everyone in a manner that seems effortless but is actually the result of so many worthy things going so well. It is the kind of movie that benefits from re-watches in what you view from certain scenes the second time around, because there are moments that really are just allowed to breathe without needing dialogue, when you think about it (this may come from the fact that the movie was extensively storyboarded, because he felt he needed every storyboard to stay on schedule). You enjoy the people that enter the sphere around Jones in what they bring to the table in their own pockets of time, whether that involves a trained monkey spy or the worthy menace brought by people such as Lacey. It's a wonderful movie to look at, right down to what is right there on screen and what actually is say, a matte painting. It all rests on Ford being something beyond the matinee hero: an academic and an adventurer (okay that was paraphrasing what he once said about the character, but still). He balances the tightrope of strength and wit that can be just as vulnerable as he can be funny in an adventure that basically is a ride of humility (contrary to Han Solo, the character of Jones doesn't start out as, well a conman).

It's not all about rescuing and getting the girl on the way to glory, it is a movie where you really do have to close your eyes to see beyond what you think you know about the world. Allen is just simply charming in that sort of independence that we gravitate to even in without as much backstory to really sink into (which is where imagination comes to play when thinking about looking at the interactions between her and Ford as compared to the ones between her and Freeman). Freeman is a capable shadow of Ford, a disturbing presence in how sly one can be when collaborating with the worst of humanity because he believes in himself so highly as a fallen angel of archaeology. A fly could buzz around his mouth and all he cares about is where he looms on the chessboard. You get the delightful elegance, charm or otherwise, with Rhys-Davies (cast as a mix between his role in Shōgun and John Falstaff*) and Elliott (the always beloved British actor), did I forget that? Wrapped within its 115-minute runtime is a movie that breezes along in finding the pieces of the puzzle in its adventure ride that respects its audience in allowing it to breathe and experience the action sequences or its effects spectacle (spooky ghosts always gets a vote) that I probably appreciate even more than when I first saw it as a teenager. It's hard to really say just what is the best sequence of the whole film between, say, the opening sequence or the Map Room - you just have to see it (and I mean see it) to really believe it, where a B-movie feel leads to going along with its rhythm quickly. It's the kind of movie that makes you feel young again, and it is the kind of movie that scratches the itch every now and then to crave adventure and maybe get something from the pursuit of history. The second one plays to the lizard brain interests for intensity and comedy, the third and fourth ones pursued a family tale with leaps of faith and the fifth, well, plays to having at least one more good time in old age, so there's that as well. It is sincerity without becoming devout in the best ways imaginable. 45 years later, it is the movie with the best type of qualities: the milage of craftsmen at work all coming together for a true return to the great adventure.

Overall, I give it 10 out of 10 stars.

theme of the day

*Because of his work in the script, Kasdan was approached by Lucas to work on The Empire Strikes Back (1980).

*Nobody really dwells on a Welsh actor playing Sallah and neither do you.

*Of all the times to give an Academy Award to the British, good lord. I do wonder if Reds holds up enough that Warren Beatty deserved a Best Director award. 

*Incidentally, Steven Soderbergh did a cut of the film in 2014 that aimed to show how the film really shined in the staging, which he did by taking out the audio and converted it to black-and-white

*And, well, vintage footage

Willow.

Review #1085: Willow.

Cast: 
Warwick Davis (Willow Ufgood), Val Kilmer (Madmartigan), Joanne Whalley (Sorsha), Jean Marsh (Queen Bavmorda), Patricia Hayes (Fin Raziel), Billy Barty (The High Aldwin), Pat Roach (General Kael), Gavan O'Herlihy (Airk Thaughbaer), Maria Holvöe (Cherlindrea), with Kevin Pollak and Rick Overton (Rool and Franjean), and Kate & Ruth Greenfield and Rebecca Bearman (Elora Danan) Directed by Ron Howard (#301 - How the Grinch Stole Christmas, #546 - Cinderella Man)

Review: 
It is strange to see this film 30 years after it came out, a high fantasy movie that certainly has its fans and detractors after all this time. The story was done by George Lucas, notable for his work on the original Star Wars trilogy, with the screenplay being done by Bob Dolman, who had done work in television such as SCTV Network 90 (for which he won two Primetime Emmy Awards for Outstanding Writing for a Variety Series). In any case, the idea for the movie was conceived by Lucas in the 1970s that had mythical qualities that was in some of the same vein as had been done with Star Wars, with Lucas once stating, "It was an idea that came to me in reading a lot of mythology and a lot of fairy tales and I realized that there hadn’t been very many feature films in that genre of just pure fantasy."

In any case, it is evident that there was a great deal of effort to really try to make something worthwhile as entertainment with this movie, but I don't think that it quite succeeds in its pursuit. By the time that this film came out, there had been numerous fantasy films that came and went in the decade, and I have covered a few of those in other reviews, such as Clash of the Titans, Conan the Barbarian, and Krull, but I think that the problem with this movie is that it isn't particularly on the level of either of those films in terms of adventure. There isn't much in its story elements that hasn't been done in other movies, such as its quest and prophecy elements, but I will admit that it isn't an excruciating adventure, just one that isn't as fun as it thinks it is. Davis does a fine job with this title role, giving it some passion and usefulness that helps keep the movie on some sort of track. Kilmer, in a role that likely reminds viewers of other films with rogues, does a decent job with what he's given, having a few moments of amusement and action that come off convincing enough times. Whalley leaves a faint impression, but nothing too particularly inspiring. Marsh does an okay job as the villain, but it isn't anything too particularly notable. The others are alright, although Pollak and Overton's characters prove to a bit grating at times. The film's best highlight might be its effects, done by Industrial Light & Magic (ILM), with the most notable one being when Hayes' character is changed from being an animal to human, done by digital morphing. It's an interesting effect to see the gradual change to the end result (aided by computer programs) that has a fine payoff. The film certainly has a decent look and cinematography (as done by Adrian Biddle), but I find that there just isn't enough in what the movie is trying to push in its action or its story to really make big entertainment. It feels a bit slow at times, such as in its middle portion, punctuated by its 126-minute run-time and a story that feels a bit by the numbers at times. It isn't anything too unique, but it also isn't anything that merits much passion beyond a mild interest. I can understand its cult status and why some may find it enjoyable, but I can't particularly give it a ringing endorsement. Take it for what it is worth.

Overall, I give it 6 out of 10 stars.

Red Sonja.

Review #829: Red Sonja.

Cast
Brigitte Nielsen (Red Sonja), Arnold Schwarzenegger (Lord Kalidor), Sandahl Bergman (Queen Gedren of Berkubane), Paul L. Smith (Falkon), Ernie Reyes, Jr. (Prince Tarn), Ronald Lacey (Ikol), and Pat Roach (Lord Brytag) Directed by Richard Fleischer (#453 - Soylent Green, #460 - Doctor Dolittle, and #624 - Conan the Destroyer)

Review
Boy, is this one dull. It manages to make sword fights sound and look really boring, with no real sense of adventure to it, with a cast that can't liven material that ends in less then 90 minutes. It starts off with a spirit (looking as ridiculous as one would guess) giving our main character her powers, after she recollects the story of how she lost her parents to her (next time you replace a pet, tell them how the previous pet was replaced and see how that goes), with the opening sequence as a whole being somewhat ridiculous, which makes sense for a movie that never seems like it's trying hard enough. Nielsen doesn't really bring much to the character (based off the comic book character of the same name, who was inspired by the character Red Sonya in one of Robert E. Howard's short stories, named The Shadow of the Vulture) that isn't told to us. Sure, she can swing a sword fairly decently, but there never are any scenes where she stands out amidst the boring landscape and a story that feels padded. It makes sense that this came from the same director of Conan the Destroyer, considering both have the same caliber of hokey action and dull attempts at humor, with a kid prince no less. The effects are also nothing spectacular.

The "Icthyan Killing Machine" sequence is slow moving, never coming off as thrilling, though it almost comes off as cheesy due to Schwarzenegger riding on the "machine" in the water for a few moments. He doesn't have as much screen time as Nielsen (which makes sense, I know), but he is somewhat charming, in a cheesy way that is reflected especially in his scenes with Nielsen (there's one scene where they fight each other, and it's ridiculously dull and cheesy at the same time). One could say it's a quick film to get through, but that doesn't mean it's an easy film to get through, and the blame rests on a movie that either can't pull itself together and make these characters interesting or managing to make everything seem cheesier than it actually is. Bergman also does a somewhat laughable job as the villain, as one dimensional as paper, with motivations as random as it gets. I can't even tell which film is worse, this or Destroyer, though at least Arnold is in the latter one more, which I guess makes it slightly better. Red Sonja could've worked under better writing, but the movie as a whole is a mess of complacent numbness that only works for people looking for wooden characters.

Overall, I give it 4 out of 10 stars.

Movie Night: Conan the Destroyer.

Review #624: Conan the Destroyer.

Cast
Arnold Schwarzenegger (Conan), Grace Jones (Zula), Wilt Chamberlain (Bombaata), Olivia d'Abo (Princess Jehnna), Mako (Akiro), Tracey Walter (Malak), Pat Roach (Man Ape/Toth-Amon), and Sarah Douglas (Queen Taramis) Directed by Richard Fleischer (#460 - Doctor Dolittle)

Review
Back in my review of Conan the Barbarian (#323), I may have hinted that I would review the sequel right after I reviewed the first film (My transcript even proves this: Conan would be successful in his own right, with momentum for a sequel. But that is another tale that...shall also be told. With regrets either before or after watching it.)...but I didn't. Instead, I reviewed Commando, and looking back, that might have been a blessing in disguise. So 301 reviews after the first one (Reviewer announcement: The rating for #323 will be changed from 7 out of 10 to 8.), here we are with the sequel (BTW, props to IFC for showing this film, they're a quirky network, but any place that shows Batman is a winner in my book.), with less emphasis on violence and more humor (because that's what was truly missing from the first film, a sidekick character). So yeah, the movie is significantly more campier, and it loses the brutal awesomeness of the first film, though at least Arnold looks like he's trying. The main problem is that we get a typical quest fantasy film that would be fine, if this wasn't a Conan film, where action is overblown, but massively entertaining. The cast is okay, but Walter does get on your nerves eventually. Seriously though, was a comic relief sidekick really necessary for a film like this? The answer is no. At least the action is fine, for a film as hokey and disappointing as this. I know this sounds redundant, but check out the first film, at least that had a midnight drive in charm, this just has a "pandering to families" feel. And before you point out that I just referenced the 1960's Batman show and then criticise this film for stuff that the show did, the show (and the movie) had a charm of its own, made in a simpler time, while this film was toned down from its awesome roots to a mediocre disappointment. There are apparently plans for a sequel, which is honestly surprising given that it's been over 30 years since this film, but anything is possible. Watch at your own risk, then go check out the books, I guess. Movie Night supports reading (obviously), of any sort.

Overall, I give it 5 out of 10 stars.

Movie Night: Clash of the Titans (1981).

Review #064: Clash of the Titans.

Cast
Harry Hamlin (Perseus), Judi Bowker (Andromeda), Burgess Meredith (Ammon), Maggie Smith (Thetis), Siân Phillips (Cassiopeia), Claire Bloom (Hera), Ursula Andress (Aphrodite), Laurence Olivier (Zeus), Pat Roach (Hephaestus), Susan Fleetwood (Athena), Tim Pigott-Smith (Thallo), and Jack Gwillim (Poseidon). Directed by Desmond Davis.

Review
This film is...actually a classic in its own mind. I think the film is good, for the most part. The special effects are still good for their time, actually this is the first time I've seen Harryhausen's special effects (Ironically this would be the last film he'd do in producing or animating) The story is balenced for the most part, having a three act feature, the rise of Perseus, the journey to the Kraken, and the completion of Perseus arc and the end. The acting is great from all, especially Lawrence Oliver. I actually kinda like Bubo, that little Owl that reminds me of R2-D2. Nevertheless, it's an adventure that still is a classic that doesn't age much. No matter how Hollywood tries.......

Overall, I give it 8 out of 10 stars.