benhack’s review published on Letterboxd:
Indiana: Meet me at Omar's. Be ready for me. I'm going after that truck.
Indiana: I don't know. I'm making this up as I go.
*theme tune blares through as he deftly hunts the nazis on horseback*
I knew that this review was going to be inevitable, as some background context, the sole reason why i have this film in my extensive acquisitions of films of which ive compiled over a prolonged period of time is due to the very meticulous measures enforced by the employees at my local HMV, it all began when i entered the store with solitary intent of finally obtaining the inside llewyn davis blu ray from the myriad of shelves of stock, this strenuous process took 10 minutes due to how shit the store layout was, this is also without referring to the employees. after finally locating the film i quickly meandered towards the cashier hosting the register to authorise payment.
this is where it all went downhill.
for some god forsaken reason, the man allegedly thought i was under the age of 13, baring in mind i am a 6'2 sixteen year old, and employed a very scripted lecture about how certain themes in the film were deemed as inappropriate to kids my age, inherently employing the age legislation.
please excuse me for my far fetched assumption and i indirectly dont practice gamer discrimination but this guy looked like he had no idea what he was talking about when he acknowledged oscar isaac on the cover of the film graphic and instantly alluded that this film was just as he paraphrased it, 'star wars but with a 15 rating', and then also came to the revelation that it was directed by the coen brothers and implied that he had watched the big lebowski and that indicated the jurisdiction to compare the two arbitrary films and render them of the same thematic conventions.
this simultaneously compulsed him to completely veto the concept of me walking out of the store with the title and he then informed through very unsubtle insinuations the proposal that i would have to source another film or leave the premises. this innately imposed the lineage of approaching the considered 'bargain bin' situated next to the counter and scourging for a medium that wasnt composed of being a fitness regime instructor dvd or every adam sandler filmography pre uncut gems. miraculously, i solicited this from the prior latter and impulsively purchased it, deviating perpetually because the discounted price point was at the lower threshold of my scarce budget.
and oh boy am i grateful that this ordeal dwelled once upon a time.
indiana jones emanates a vast part of my earlier childhood, inducing many notions of compelled nostalgia, my earliest memories in a very non chronological lineage are playing with the action figures accompanied by my cousin upon frequent visits to his house, and despite having what would be considered the parallel franchise that i dispute kind of diminishes indiana jones acclaim, in star wars toys in a vast abundance, i always seemed to gravitate towards opting to play with indiana jones because it always seemed more redeeming to generate various scenarios for myself using the intangible background props of my aunts living room.
in light of this essence, ive always found the indiana jones series to generally be more gratifying to bask in, arbitrarily to star wars, i dont want to succumb to a conviction that star wars is overly convoluted in this desire to create this fully holistic canon but i also believe that star wars comes much to its own discretion in trying to establish various other tributaries of narrative arcs that dont succeed in becoming coalescent. adversely, indiana jones doesn't strive to be abridged in this theme of melancholy or external encompassing coercion to try and make you comprehend the narrative because in attainment, its more light hearted fun, although i can also be honouring and appreciating other peoples revised, informed beliefs on this subject.
but in true context to paying testament to raiders of the lost ark, this is the start of the narrative review, not a appraisal of various odd anecdotes from my past. indiana jones and the raiders of the lost ark is inherently a genuine all time favourite of mine. this is favoured by many principles in fundamental film making simultaneously with the complimented factors that help to realise the narrative element being brought in a nuanced body of frames in a harmonious conglomerate.
the film opens out with indiana and his band of locals deeply immersed in a jungle enviroment, inevitably leading to him obtaining the golden idol, although the nuanced way in which Spielberg approaches introducing the character of indiana jones is by resorting a lot of emphasis on his ominous silhouette apprising out of the bleakness, relinquishing the enigma about who is the ambiguous profile that attires a hat. through this yielded scene, we are introduced to the highly decorated and heralded archaeologist that is for some reason not synonymous with Fords persona. this enigmatic principle for introducing indiana sustains a fidelity throughout the rest of the film. when indiana seeks out marion in the altitudes of nepal, the active method that spielberg utilises to address the arrival of Fords character is by choosing to locate the camera under the proxemics of bounding near his feet, and in the light of a fire his silhouette imposingly looms over marion. the subliminal visual imagery that rivets from this is a dynamic of proportion as Spielberg determines that indy has prompted an air of prestige over marion, provoking an essence of loathing and anguish over the symbolic shadow. Of which acts adversely to how marion was previously exhibiting her flaunted traits in the prior scene that depicts her taking shots with ease competing against a buff nepal male, subverting the stereotype that may have been fathomed that all affairs that she exchanges with indiana are not solely limited to flourishing a rudimentary on screen romance, rather a efficient facilitating asset that accompanies him to cairo in search of the ark.
marion and indianas on screen relations with one another consists of smouldered notions of acute temperaments, that on a candid narrative outlook may perceive them to be condemned in each others love but if anything their differences in work philosophies leverage to extrapolate a sense of rationality to the characterisation simultaneously of the two characters, without making this arc, *intentional irony* burden the holistic narrative at all, if anything simply making it more conscious that indiana is not a super hero.
to briefly summarise paul newmans gentrified antagonist of Dr Rene Belloq, he is depicted as what can only be apprehended as a generally neutral yet patronising archaeologist that works parallel to indiana, who appeases the traditional motives of the trope of the bad guy in a relatively modest way. throughout the film, a common rife trend is that his character is always seemingly one step ahead of indiana, constantly accosting him by mitigating any materialised progress of the protagonist, all portrayed under a smug and gluttonous demeanour. Although as the plot endeavours on, there is a distinct intangible notion of jealousy from newmans antagonist as his deceiving influence cant seem to impulse marion from her unconditional relished sentiment for indy and catalysing Belloqs intent to elevate on a higher guilded position in attempt to charm marion.
i think the abundant use of nazi symbolism to indicate the presence of the denounced defunct political party was fairly excessive doe.
a small piece of trivia: belloq in fact did not consume the fly in contrary to other conspired jurisdiction to that scene
sublimely oriented masterpiece