When one looks back at the most popular films of the last quarter of the 20th century, the growing trend of box-office hits from that period on is arguably thanks to two men in particular: Steven Spielberg and George Lucas.
Having both studied film in the 1960s before making it big with such revered "blockbusters" as Jaws and Star Wars, respectfully, it was only a matter of time before both filmmakers collaborated on an exciting project.
Lucas and Spielberg were reportedly on vacation simultaneously in the late-Seventies. Lucas's "space opera" exceeded even his wildest expectations, while Spielberg experienced his first financial disaster (1979's war comedy 1941). The latter had always wanted to make a James Bond film, but Lucas had a better suggestion: a story about an archeologist who searches the globe for artifacts long lost for thousands of years. The character was named Indiana Jones (after Lucas's own dog, no joke), the artifact was the Ark of the Covenant (as described in the Book of Genesis), and, as Star Wars was an homage to sci-fi matinee serials of the 1940s, Raiders of the Lost Ark (released in 1981) would echo the adventure serials of that same period, but with more sophisticated.
Considered one of the best Hollywood scripts ever produced (courtesy Lawrence Kasdan, Lucas, and Philip Kaufman), Raiders has easily identifiable villains (common in serials), dangerous and unpredictable situations, some intense pre-PG-13-level violence, and one of the most unforgettable opening sequences of any film (Jones running from a giant boulder never ceases to excite). The same goes for the film's many iconic lines ("Why'd it have to be snakes?"), stunts (i.e., dangling under a speeding truck), and scary special effects (melting faces, anybody?)
 |
| Karen Allen (and Harrison Ford's silhouette) in Raiders of the Lost Ark |
And the best part? Harrison Ford is at his charismatic best as the daring explorer, who never seems to catch a break but always carries such swag (and we love him for it), while Karen Allen's Marion Ravenwood is far from a damsel in distress--to be fair, she does mildly fit the bill, but only just--and can clearly stand up for herself. (Now there's a strong and sassy heroine, if ever there was one.)
What followed were three sequels ('84's overly-dark Temple of Doom, '89's redemptive father-son-focused Last Crusade, 2008's long-awaited-if-disappointing-
If anything, Raiders is proof that you can make a great film for popcorn thrills, especially if there's genuine quality and investment along for the ride. It remains one of the best in cinema history.
No comments:
Post a Comment