![]() There are some issues with Marion's characterization later in the film, but these are largely overcome by the sheer spiritedness of Karen Allen's performance. ![]() She is not a character to be messed around. Upon seeing Indy for the first time in almost a decade, the first thing she does is punch him squarely in the jaw. Marion and Indy have a shared history, which immediately makes her more interesting. The love interests in the original three films are arguably spotty at best, Willie Scott is an airhead who doesn't grow at all over the course of "The Temple of Doom," and Elsa Schneider is, well, a Nazi. It's a black-and-white, soundless version of the picture, and it's the best way of highlighting the masterful scene construction. So impressive is the cinematography and shot composition that Steven Soderbergh posted the film in its entirety on his website (ostensibly for educational purposes) to demonstrate the choices made by Spielberg and Slocombe in putting together the shots and how since film is primarily a visual medium, the story should be evident without dialogue. Pretty much every frame is beautifully lit and staged, to the extent that if you pause the film at any given moment, chances are you are looking at one of the most beautifully constructed shots in cinema. It set the standard for the rest of the series, with staging and framing that are much better than they need to be, for what could easily have been viewed as a throwaway pastiche of the 1930s serials. It's true that Slocombe did the cinematography for all three original "Indiana Jones" films, but there's something about the first one that stands out. ![]() It's reminiscent of "the great whatsit," the item that shouldn't be opened whatever you do, as shown in Robert Aldrich's "Kiss Me Deadly," where characters find out too late what happens when their curiosity gets the best of them. It's an item that should not be observed by mortals. When Indy and the diggers first unearth it, it feels as if the elements are warning him to stay away - a warning that Indy fails to recognize.Īs well as a portent of doom, the Ark also functions as an allegorical Pandora's Box. There's a mystery surrounding the Ark that just isn't as potent in the subsequent films. Brody, Sallah, the Imam, and even Belloq recognize its unearthly power. From the sinister drawings shown to the government men to the fate of the mouse that ventures into the packing crate, there is something dreadful about the Ark that makes it strangely compelling. And yet, it's surrounded by ominous warnings. No one in the film knows what will happen when they open the Ark - it's a truly unknowable object. It both humanizes Belloq to some extent and demonstrates Marion's resourcefulness, and it might not exist if the film were made today It's a scene that develops both characters beautifully, playing on Marion's earlier drinking prowess before pulling the rug out when it's revealed that Belloq can hold his wine better than she thought. A scene between Belloq (Paul Freeman) and Marion (Karen Allen) was entirely conceived by the two actors during their lunch breaks. Spielberg also allowed his actors room to improvise, leading to an overall more spontaneous, natural feel to the character's interactions. The entire cast and crew had caught dysentery while on location, and Ford couldn't face the exhausting fight scene, so he said to Spielberg, "Why don't we just shoot the sumb***h?" The result is one of the most memorable, funniest scenes ever committed to film, and sums up the Jones character in a witty, concise moment. One such example was the famous scene where Indy faces an imposing swordsman in the market square. As with "Jaws," necessity frequently proved to be the mother of invention.
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