A Paramount release of a Lucasfilm Ltd. production.
Indiana Jones...........Harrison Ford
New York-"Raiders of the Lost Ark" is the stuff that raucous Saturday
matinees at the local Bijou once were made of, a crackerjack fantasy-
adventure that shapes its pulp sensibilities and cliff-hanging serial
origins into an exhilarating escapist entertainment that will have broad-
cased summer audiences in the palm of its hand. Even within this summer's
hot competitive environment, boxoffice propects are in the top rank.
Steeped in an exotic atmosphere of lost civilizations, mystical talismans,
gritty mercenary adventures, Nazi arch-villains and ingenious death at
every turn, the film is largely pattterned on the serials of the 1930's,
with a large added dollop of Edgar Rice Burroughs.
Story begins in 1936 as Indiana Jones (Harrison Ford), an archaeologist
and university professor who's not above a little mercenary activity on
the side, plunders a South American jungle tomb. Fending off an awesome
array of deadly primitive booby-traps-ranging from light-sensitive poison
darts and impaling spikes to legions of tarantulas-he secures a priceless
golden godhead, only to have it snatched away by longtime archaeological
rival Paul Freeman, now employed by the Nazis.
Back in the states, Ford is approached by U.S. intelligence agents who tell
him the Nazis are rumored to have discovered the location of the lost ark
of the covenant (where the broken 10 commandments were sealed). The ark
is assumed to contain an awesome destructive power which Hitler ("He's a
nut on the occult," we learn) is intent on using to guarantee his global
conquest.
Ford's mission is to beat the Germans to the ark, a trek that takes him
first to the mountains of Nepal to retrieve a hieroglyphic medallion that
will pinpoint the ark's location, from his onetime flame Karen Allen.
Later a feisty, hard-drinking spitfire, operates a Nepalese ginmill; after
a massive shootout with medallion-seeking Nazis, the pair wings it to
Cairo, where Ford finally makes it to the digging ground.
The action unfolds as a continuing series of exuberantly violent and
deadly confrontations-with the Nazis, hired Arab assassins, thousands of
venomous snakes that guard the ark, etc., in which Ford miraculously outwits
the elements in approved comicstrip fashion before fending off the next
round of dangers.
As such, the film has some surprisingly explicit violent action and
bloodletting for a PG-rated entry and at least one scene (when the Nazis
open the ark, liberating divine fury in the form of spectral beings that
melt the defilers' faces and explode their heads into smithereens) that
would be attention-getting in an R-rated pic.
Still, for all but the most squeamish that won't detract an iota from the
film's overall effect and the virtual start-to-finish grip of the offbeat
tale of its viewers. Lawrence Kasdan's script (exec producer George Lucas
and Phillip Kaufman wrote the original story) spins along the storyline,
revealing in all the dialog cliches of the genre without really tipping
into self-mockery. Film, cheerfully wearing its improbabilities on its
sleeve, is constantly leavened by humor. The kids should love it.
Spielberg has harnessed a perfect balance between escapist fun and
hard-edged action, and the film is among the best crafted ventures of its
kind. Suspense components kick in virtually from the first frame onwards,
and are maintained throughout the pic.
More important, Spielberg has deftly veiled the entire proceedings in
a pevading sense of mystical wonder that makes it all the more easy for
viewers to willingly suspend disbelief and settle back for the fun.
Conforming to the traditions of the genre, characterizations are hardly
three-dimensional. Still, Ford marks a major turning point in his
career as the occasionally frail but ever invincible mercenary-
archaeologist, projecting a riveting strength of character throughout.
Allen's pugnacious personality provides bristling romantic counterpoint
and supporting roles (including Ronald Lacey in the most outrageously
offensive Nazi stereotype seen on screen since World War II, John Rhys-Davies
as Ford's loyal Egyptian helpmate and Denholm Elliott as his university
colleague) are all delightfully etched.
Technically, the film is another standard-setter from the Lucas-Spielberg
camps (this is their first collaboration), with Douglas Slocombe's lush
lensing and John Williams' dramatic score underscoring both the action
and the globe-hopping epic scope.
Recruited from the "Star Wars" ranks, production designer Norman Reynolds
and art director Les Dilley have created a vibrant and period-perfect
world of wonders. Michael Kahn's crisp editing keeps the pace and energy
unflagging, and Richard Edlund's photographic effects-highlighted by the
apocalyptic unveiling of the ark-are intelligently spectacular.
Film's ending leaves the field wide open for a sequel (Lucas already has
two more chapters up his sleeve). Hopefully, the film's broad commercial
promise going in will translate to a large enough bottom-line to keep his
raiders coming for a long time.
Step.
Produced by Frank Marshall. Directed by Stephen Spielberg. Executive Producers,
George Lucas, Howard Kazanjian. Screenplay, Lawrence Kasdan, from a story
by George Lucas, Philip Kaufman; camera (Metrocolor), Douglas Solcombe;
editor, Michael Kahn; music, John Williams; production design, Norman Reynolds;
art direction, Leslie Dilley; set decoration, Michael Ford; costume design,
Deborah Nadoolman; sound, Ray Charmon; visual effects supervisor, Richard
Edlund; second unit director, Michael Moore; assistant director, David
Tomblin; associate producer, Robert Watts. Reviewed at Paramount Pictures
screening room, N.Y., June 2, 1981. MPAA Rating: PG. Running time: 115 mins.
Marion Ravenwood..........Karen Allen
Deitrich..................Wolf Kohler
Rene Belloq..............Paul Freeman
Toht.....................Ronald Lacey
Sallah...............John Rhys-Davies
Brody.................Denholm Elliott
Gober.................Anthony Higgins
Satipa..................Alfred Molina
Daily Variety