A fun and whimsical adventure full of heart, humour and character

Rating: 10/10 (27 November 2010)

After the dark and nihilistic Temple of Doom, this franchise returned to form in a big way with an enjoyable and exciting plot, stylish direction, a real sense of warmth and the best cast performance in any of these films.
The film opens differently from the first two, with a prequel prologue that is set up gradually. This sequence is an example of virtuoso visual storytelling, with very little dialogue and the story being told through a montage of David Lean inspired wide and epic landscape shots. It builds towards a superb and highly amusing action adventure sequence that very cleverly adds some character development to Indiana Jones, well played at this stage by the late River Phoenix. It then segues forward some 25 years with a very clever cut to the Harrison Ford incarnation.
The strength of this story (a collaboration between George Lucas, Spielberg, and writers Menno Meyjes and Jeffery Boam, with no doubt significant input from Connery and Ford) is the Indiana Jones character finding his estranged father, played in a tour de force performance by Sean Connery. While there is the obligatory search for a lost artifact, in this case the Holy Grail, this search is the secondary plot, with the interplay between father and son becoming the primary plot. Despite just a 12 year difference in ages between Ford and Connery, their interplay works brilliantly and is the genuine heart of the movie. This powerful emotional connection between these characters is an ingredient that is missing from the previous two films and really brings this audience into the story. While the set pieces don't have the same level of ingenuity, relentless pace or sheer film-making bravado as Raiders of the Lost Ark,the film is far more character based, light hearted and emotionally involving than the previous two outings. The film maintains interest in these acting sequences thanks to wonderful performances. While Connery and Ford do dominate the proceedings, Denholm Elliot and Jonathan Rhys Davis offer excellent support again. Irish actress Alison Doody is highly amusing as Elsa Schneider, and it is a shame that her career didn't take off after this film the way it should have done. Veteran British actors Michael Byrne and Julian Glover have fun with their roles, and Byrne in particular is given some pithy one liners. The story builds neatly to a clever and powerful climax, leading to a warm and amusing coda at the end of the movie.
Technically the film as accomplished as usual. However, the more character driven nature of the story means that visual effects take much more of a back seat in this film, and ILMs work is more subtle and understated in this film, making use of mainly traditional optical techniques and on set live special effects, with the one exception of a very well realised effect at the films climax which involved the use of stop motion combined the morphing technology overseen by ILM digital pioneers Doug Smythe and Les Dittert. The films centrepiece, a major action sequence set in the desert using horses, trucks, cars and a tank is carried off with usual Spielberg bravado and style, and works due to the audience following what the characters are doing, rather than the set piece itself. Kudos to Oscar winning special effects supervisor George Gibbs, second unit director Michael Moore and editor Michael Kahn and producer George Lucas (who also helped out with the editing) for making the action sequences look so polished and convincing. Spielberg even manages to insert little gems of witty dialogue and some terrific visual gags into the action, particularly one involving Indiana Jones incredulous reaction to using a Luger revolver. They work so well because they fit the situation the characters are in. The sound work is first rate, and Ben Burtt and Richard Hymns won Oscars for their sound effects. What is impressive is that because the sound helps convince you are right there with what is going on, rather than being loud and in your face. Burtt had already won Academy awards for his work on Star Wars, Raiders of the Lost Ark and ET. He has continued to work on a wide body of work since and is still one of Hollywood top artists in this area. Richard Hymns, after winning this first Academy Award, went on to win again in this area for Jurassic Park and Saving Private Ryan and has also worked on a series of high profile films including Avatar. Douglas Slocombe's photography is more understated this time around, but still stylish. The film seems to make a statement that it is the characters rather than the action which is to the forefront, and indicates a maturing of the franchise. John Williams score is, as usual first rate, but is more spiritual, emotional and deft in style, compared with the more militaristic and aggressively visceral style of the previous films.
In summary congratulations to all the key collaborators for a warm and thoroughly enjoyable adventure, though particular mention needs to go to Spielberg, Connery and Ford for taking the series and in welcome and involving new direction.