A Paramount release of a Lucasfilm Ltd. production. Produced by Robert Watts, Executive producers, George Lucas, Frank Marshall. Directed by Steven Spielberg.Screenplay, Willard Huyck, Gloria Katz, from a story by George Lucas. Camera (Rank Color-Prints by Deluxe-Panavision), Douglas Slocombe; editor, Michael Kahn; music, John Williams; production design, Elliot Scott; chief art director, Alan Cassie; art directors, Roger Cain, Joe Johnston (Calif. second unit), Errol Kelly (Sri Lanka); set decorator, Peter Howitt; costume designer, Anthony Powell; visual effects supervisor, Dennis Muren; sound design (Dolby), Ben Burtt; sound, Simon Kaye, David McMillan (Calif. second unit), Colin Charles Kennedy; choreography, Danny Daniels; assistant directors, David Tomblin (U.K.), Louis Race (U.S.), Carols Gil (Asian unit) Patty Chan (Macau), Ranjit H. Pairis (Sri Lanka); second unit directors, Michael Moore, Frank Marshall (U.K.), Glenn Randall (Calif.), Kevin Donnelly (aerial unit); second-unit camera, Allen Daviau (Calif.), Jack Cooperman (aerial unit); additional photography, Paul Beeson. Reviewed at the MGM Studios, Culver City, May 7, 1984. MPAA rating: PG. Running time: 118 mins.

Indiana Jones.........Harrison Ford
Willie Scott..........Kate Capshaw
Short Round...........Ke Huy Quan
Mola Ram..............Amrish Puri
Chatter Lai...........Roshan Seth
Captain Blumburtt.....Philip Stone
Lao Che...............Roy Chiao
Wu Han................David Yip
Kao Kan...............Ric Young
Chon..................Chua Kah Joo

Just as "Return of the Jedi" seemed disappointing after the first two "Star Wars" entries, so does "Indiana Jones and the Temple of Doom" come as a letdown after "Raiders of the Lost Ark." This is ironic, because director Steven Spielberg has packed even more thrills and chills into this follow- up than he did into the earlier pic, but to exhausting and numbing effect. End Result is like the proverbial Chinese meal, where heaps of food can still leave one hungry shortly thereafter. Will any of this make any difference at the boxoffice? Not a chance, as a sequel to "Raiders," which racked up $112,000,000 in domestic film rentals, has more built-in want-see than any imaginable film aside from "E.T. II."

Spielberg, scenarists Willard Huyck and Gloria Katz, and George Lucas, who wrote the story as well as functioning as exec producer with Frank Marshall, have not tampered with the formula which made "Raiders" so popular. To the contrary, they have noticeably steppid up the pace, amount of incident, noise level, budget, close calls, violence and everything else, to the point where more is decidedly less.

Tale finds dapper Harrison Ford as Indiana Jones, in a Shanghai nightclub in 1935, and title sequence, which features Kate Capshaw chirping Cole Porter's "Anything Goes," looks like something out of Spielberg's "1941." Ford escapes from an enormous melee with the chanteuse in tow and, joined by Oriental moppet Key Huy Quan, they head by plane to the mountains of Asia, where they are forced to jump out in an inflatable raft, skid down huge slopes, vault over a cliff and navigate some rapids before coming to rest in an impoverished Indian village.

Community's leader implores the ace archaeologist to retrieve a sacred, magical stone which has been stolen by malevolent neighbors, so the trio makes its way be elephant to the domain of a prepubescent Maharajah, who lords it over an empire of reeking evil.

Remainder of the yearn is set in this labyrinth of horrors, where untold dangers await the heroes. Much of the action unfolds in a stupendous cavern, where dozens of natives chant wildly as a sacrificial victim has his heart removed before being lowered into a pit of fire.

Ford is temporarily converted to the nefarious cause, Key Huy Quan is sent to join child slaves in an underground quarry, and Capshaw is lowered time and again into the pit until the day is saved.

What with John Williams' incessant score and the library full of sound effects, there isn't a quiet moment in the entire picture, and the filmmakers have piled one giant set piece on top of another to the point where one never knows where it will all end.

Film's one genuinely amazing action sequence; which is not unlike the airborne sleight chase in "Jedi," the best scene in the film, has the three leads in a chase on board an underground railway car on tracks resembling those of a rollercoaster.

Sequence represents a stunning display of design, lensing and editing, and will have viewers gaping. A "Raidersland" amusement park could profitably be opened on the basis of this ride alone.

Overall, however, pic comes on like a sledgehammer, and there's even a taste of vulgarity and senseless excess which was not apparent in "Raiders." Kids from ages 10 or 12 upwards will eat it all up, of course, but many of the images, particularly those involving a gruesome feast of live snakes, fried beetles, eyeball soup and monkey brains, and those in the sacrificial ceremony, might prove extraordinarily frightening to younger children who, indeed, are being catered to in this film by the presence of the adorable 12-year old Ke Huy Quan.

Compared to the open-air breeziness of "Raiders," "Indiana Jones," after the first reel or so, possesses a heavily studio-bound look, with garish reds often illuminating the dark backgrounds. As could be expected, however, huge production crew at Thorn EMI-Elstree Studios, as well as those on locations in Sri Lanka, Macau and California, and in visual effects phase at Industrial Light & Magic, have done a tremendous job in rendering this land of high adventure.

Ford seems effortlessly to have picked up where he left off when Indiana Jones was last heard from, although Capshaw, who looks fetching in native attire, has unfortunately been asked to act hysterically to everything that happens to her, resulting in a manic, frenzied performance which never locates a center of gravity.

Critical opinion is undoubtedly irrelevant for such a surefire commercial attraction as "Indiana Jones," except that Spielberg is such a talented director that it's a shame to see him lose all sense of subtlety and nuance.

In one quick step, the "Raiders" films have gone the way the James Bond opuses went at certain points, away from nifty stories in favor of one big effect after another. But this won't prevent Spielberg and Lucas from notching another high mark on the list of all-time b.o. winners.