Raiders of the Lost Ark

Raiders of the Lost Ark adalah film laga petualangan Amerika 1981 yang disutradarai oleh Steven Spielberg dan ditulis oleh Lawrence Kasdan berdasarkan naskah oleh George Lucas dan Philip Kaufman. Film ini dibintangi Harrison Ford, Karen Allen, Paul Freeman, Ronald Lacey, John Rhys-Davies, dan Denholm Elliott. Harrison memerankan Indiana Jones, seorang arkeolog yang berkeliling dunia yang bersaing dengan pasukan Nazi Jerman pada tahun 1936 demi menemukan Ark of the Covenant, sebuah peninggalan yang dikatakan membuat tentara tak terkalahkan, yang telah lama hilang. Bekerja sama dengan mantan kekasihnya yang tangguh Marion Ravenwood (Allen), Jones berlomba untuk menghentikan arkeolog saingannya Dr. René Belloq (Freeman) dari membimbing Nazi ke Ark dan kekuatannya.
Lucas menyusun Raiders of the Lost Ark di pada awal dasawarsa 1970-an. Berusaha untuk memodernkan film seri awal abad ke-20, ia mengembangkan ide tersebut lebih jauh dengan Kaufman, yang menyarankan Tabut sebagai tujuan film tersebut. Lucas akhirnya fokus pada pengembangan opera ruang angkasa 1977 Star Wars. Pengembangan Raiders of the Lost Ark dilanjutkan tahun itu ketika dia berbagi ide dengan Steven yang bergabung dengan proyek tersebut beberapa bulan kemudian. Sementara pasangan tersebut memiliki ide untuk adegan penting dalam film tersebut, mereka menyewa Jake untuk mengisi celah di antara mereka. Pengambilan gambar utama dimulai pada bulan Juni 1980 dengan biaya $20 juta dan diakhiri pada bulan September 1981. Pengambilan gambar berlangsung di latar di Elstree Studios, Inggris, dan di lokasi di La Rochelle, Tunisia, Hawaii, dan California.
Meskipun jajak pendapat prapenayangan menunjukkan sedikit minat penonton terhadap film tersebut, terutama dibandingkan dengan film adiwira Superman II, Raiders of the Lost Ark menjadi film dengan pendapatan kotor tertinggi pada tahun 1981, menghasilkan sekitar $330,5 juta di seluruh dunia. Itu diputar di beberapa bioskop selama lebih dari setahun karena popularitasnya. Itu adalah kesuksesan kritis, menerima pujian untuk pengambilan modern pada film serial, aksi dan petualangan tanpa henti, dan para pemerannya, terutama Ford, Allen, dan Freeman. Raiders of the Lost Ark menerima banyak nominasi penghargaan dan, antara lain, memenangkan lima Academy Awards, tujuh Saturn Awards, dan satu penghargaan BAFTA.
Bertahun-tahun sejak ditayangkan, film ini semakin dihargai dan sekarang dianggap sebagai salah satu film dasawarsa 1980-an terbesar dan salah satu film laga-petualangan terbesar yang pernah dibuat. Ini memiliki dampak yang langgeng terhadap budaya populer; keberhasilan film tersebut melahirkan sejumlah peniru di beberapa media dan mengilhami berbagai pembuat film. Raiders of the Lost Ark adalah film pertama yang kemudian menjadi franchise Indiana Jones, yang mencakup tiga film lagi — Indiana Jones and the Temple of Doom (1984), Indiana Jones and the Last Crusade (1989), dan Indiana Jones and the Kingdom of the Crystal Skull (2008) —seri televisi, video game, buku komik, novel, atraksi taman hiburan, mainan, permainan papan, barang koleksi, dan remake amatir. Perpustakaan Kongres Amerika Serikat memilihnya untuk disimpan di National Film Registry pada tahun 1999.
Pada 1936, di hutan Peru, arkeolog/pemburu harta karun Indiana Jones melewati beberapa jebakan untuk mendapatkan sebuah artefak yang disebut golden idol dari sebuah kuil kuno. Setelah melewati banyak jebakan, termasuk sebuah batu besar, dia menemukan arkeolog saingannya, Rene Belloq yang sedang menunggu di luar dengan sekumpulan Hovitos (penduduk asli). Terkepung dan kalah jumlah, Jones terpaksa menyerahkan artefak itu ke Belloq. Jones melarikan diri dari Belloq dan para Hovitos setelah berkejar-kejaran di hutan, dan terbang memakai sebuah pesawat.
Di sebuah universitas di Amerika Serikat tempatnya mengajar arkeologi, Jones kedatangan dua agen intelijen tentara. Keduanya memberitahu bahwa Abner Ravenwood, bekas mentor Jones sedang dicari-cari kawanan Nazi yang sedang berusaha mendapatkan ilmu gaib. Ravenwood adalah orang yang paling ahli tentang sebuah kota kuno bernama Tanis yang ada di Mesir. Kota ini ditemukan kembali oleh para Nazi, dan dipercaya sebagai tempat firaun Shishaq menyembunyikan Tabut Perjanjian (Ark of the Covenant), sebuah peti yang dibuat orang Israel untuk menyimpan sisa naskah Sepuluh Perintah Allah. Menurut Jones, para Nazi mencari Ravenwood karena dia memiliki kepala Tongkat Ra, sebuah artefak penting yang memberitahu lokasi Tabut saat ini. Menurut legenda, kepala tongkat ini akan menunjukkan tempat dari Well of Souls, tempat penyimpanan Tabut, bila sinar matahari difokuskan ke miniatur kota itu pada waktu yang tepat. Rekan Jones, Marcus Brody, menjelaskan lagi bahwa kekuatan legendaris dari Tabut itu bisa membuat tentara manapun tak terkalahkan.
Jones terbang ke Nepal, dan menemukan kalau Ravenwood sudah mati, dan kepala tongkat yang sekarang dipakai seperti sebuah medali, ternyata dimiliki Marion yang anak perempuan Ravenwood sekaligus mantan kekasih Indy. Kedai minum yang dimiliki Marion diserang para Nazi, di bawah pimpinan agen Nazi bernama Toht. Pertarungan terjadi dan kedai minum terbakar rata dengan tanah. Toht menggenggam medali yang panas membara hingga ukiran salah satu sisi medali tercetak di telapak tangannya. Namun medali tersebut berhasil direbut Jones dan Marion. Mereka berdua pergi ke Kairo untuk bertemu dengan Sallah, orang Mesir sekaligus penggali yang handal. Sallah tahu tempat para Nazi berada. Dengan bantuan Belloq, dan sebuah replika dari kepala tongkat Ra, kawanan Nazi sedang menggali Tabut. Di sebuah pasar di Kairo, pasukan Nazi menculik Marion dan membuat Jones mengira dia sudah mati. Malam itu, Sallah dan Jones memecahkan sandi dalam ukiran yang ada di dua sisi kepala tongkat milik Ravenwood, dan mereka mengetahui panjang tongkat yang dibutuhkan. Mereka sadar bahwa para Nazi hanya berpedoman pada salah satu sisi ukiran kepala tongkat yang tercetak di telapak tangan Toht yang terluka. Akibatnya, tongkat yang dimiliki para Nazi terlalu panjang, dan tentara Jerman menggali di tempat yang salah.
Indy menyusup ke lokasi penggalian, dan masuk ke ruang peta. Di ruang peta disimpan sebuah model skala dari kota Tanis. Sallah hampir ketahuan dan tertangkap, tetapi Indy berhasil mengetahui lokasinya dari tongkat dan medali. Jones juga mengetahui Marion masih hidup tetapi masih berada di tangan penculik. Jones dan Sallah bersama sebuah tim kecil menggali di tempat yang benar. Setelah beberapa jam, mereka berhasil menembus atap dari Well of Souls yang terkubur. Jones diturunkan ke lantai kuil dan menemui banyak sekali ular beracun yang sangat dia takuti. Setelah Jones dan Sallah mengeluarkan Tabut dari kuil, Belloq dan para Nazi muncul dan merampasnya. Marion dibuang ke Well of Souls bersama Jones, dan mereka dikurung di dalamnya. Namun mereka berhasil kabur, dan keluar tepat waktu untuk menemui bahwa Tabut itu akan dipindahkan melalui pesawat ke Berlin. Setelah selesai bertarung, pesawat dihancurkan oleh Jones. Tabut itu dibawa dengan sebuah truk ke Kairo untuk selanjutnya dikapalkan ke Berlin. Setelah mencuri seekor kuda, Jones mengejar konvoi yang menjaga truk, dan akhirnya berhasil mengambil kendali truk berisi Tabut. Malam itu, Jones dan Marion meninggalkan Sallah untuk menjaga Tabut di atas kapal bernama Bantu Wind yang berlayar menuju Inggris.
Pagi hari berikutnya, sebuah kapal selam U-Boat di bawah komando Belloq dan perwira Nazi bernama Dietrich menghentikan kapal dan merebut Tabut itu. Namun Jones diam-diam masuk ke kapal selam, dan mengikuti mereka hingga di sebuah pulau terpencil. Mereka ternyata berniat untuk mencoba kekuatan dari Tabut itu sebelum diserahkan kepada Adolf Hitler. Jones mengancam untuk menghancur Tabut itu dengan sebuah peluncur roket, dan meminta agar Marion dilepaskan. Belloq sadar Indy hanya menggertak. Sama halnya seperti Belloq, Indy juga seorang arkeolog yang ingin melihat Tabut itu dibuka. Jones menyerah dan diikat bersama Marion sementara Belloq melakukan ritual untuk membuka Tabut. Dari dalam Tabut muncul sesuatu yang tidak terduga, yang menjadi klimaks film ini.
Sekembalinya di Washington, D.C., dua agen intelijen memberitahu Jones bahwa "para ahli" sedang meneliti Tabut itu. Sebenarnya, Tabut itu sudah disegel di dalam sebuah kotak kayu, dan disimpan di gudang pemerintah yang dipenuhi kotak-kotak serupa yang tak terhitung jumlahnya.
George Lucas merancang Raiders of the Lost Ark pada tahun 1973, tak lama setelah menyelesaikan film komedi American Graffiti (1973). Poster film lama tentang watak heroik yang melompat dari kuda ke truk mengingatkan George pada film seri awal abad ke-20 yang ia nikmati semasa muda, seperti Buck Rogers (1939), Zorro's Fighting Legion (1939), Spy Smasher (1942), and Don Winslow of the Navy (1942). George ingin membuat film B yang meniru seri tersebut dan menyusun The Adventures of Indiana Smith yang menampilkan seorang arkeolog petualang yang dinamai anjing Alaskan Malamute miliknya. Sekitar waktu yang sama, Lucas mencoba untuk mengadaptasi serial opera ruang angkasa Flash Gordon (1936), tetapi tidak dapat memperoleh haknya. Lucas shelved the Indiana Smith project to focus on creating his own space opera, Star Wars (1977).
Pada tahun 1975, George membincangkan gagasan film serinya dengan kawannya Philip Kaufman. George dan Philip ini mengerjakan naskah selama dua minggu. George membayangkan wataknya sebagai seorang profesor perguruan tinggi dan petualang arkeolog, berdasarkan penghargaannya sendiri terhadap arkeologi dan arkeolog terkenal seperti Hiram Bingham III, Roy Chapman Andrews, dan Leonard Woolley. Philip menghapus pandangan George tentang Smith sebagai pelindung klub malam dan perayu wanita, serta menyarankan Tabut Perjanjian sebagai tujuan utama film tersebut; dia belajar tentang Tabut Perjanjian dari dokter gigi masa kecilnya. The Ark provided a source of conflict for the hero and the Nazis, playing off Nazi leader Adolf Hitler's historical fascination with the occult.
George ingin Philip untuk menyutradarai film tersebut, tetapi karena dia sudah berkomitmen untuk mengerjakan The Outlaw Josey Wales (1976), Lucas menghentikan ide itu lagi dan kembali mengerjakan Star Wars. In May 1977, Lucas vacationed in Hawaii to avoid the potential failure of the theatrical debut of Star Wars. He invited Steven Spielberg to join him and his wife. On a beach near Mauna Kea volcano, Lucas and Spielberg discussed their next projects. Spielberg wanted to direct a James Bond film, but Lucas pitched him The Adventures of Indiana Smith. Lucas still hoped Kaufman would direct it, but a few months later it was clear he could not participate and Lucas asked Spielberg to replace him.
Lawrence Kasdan dipilih untuk menulis naskahnya. Lawrence telah bekerja sebagai penulis naskah profesional hanya selama sebulan, tetapi George setuju untuk mempekerjakannya setelah membaca naskah film Continental Divide (1981) karyanya. Pada Januari 1978, George, Lawrence, dan Steven menghabiskan sekitar sembilan jam sehari selama tiga sampai lima hari di rumah asisten George di Sherman Oaks, Los Angeles untuk mengembangkan garis besar gagasan George. Beberapa gagasan muncul dari perbincangan mereka, di antaranya jebakan batu besar, monyet di Kairo, Toht membakar jejak medali di tangannya, dan agen pemerintah mengunci Tabut Perjanjian itu. Lawrence menyadari bahwa Steven dan George memiliki beberapa keputusan yang pasti, tetapi mereka sedang mencari orang lain yang bersedia bekerja keras menyatukannya.
Steven membenci nama Indiana Smith karena meyakini nama itu akan mengingatkan penonton kepada watak Nevada Smith yang diperankan Steve McQueen dalam film berjudul sama pada tahun 1966. Mereka sepakat menggunakan nama "Indiana Jones". Aktor Clint Eastwood dan Toshiro Mifune serta watak James Bond menjadi dasar penciptaan watak Indiana. George ingin Indiana menjadi seorang praktisi kungfu dan playboy, mendanai gaya hidupnya dengan rampasan dari petualangannya, tetapi Steven dan George merasa wataknya cukup rumit sebagai seorang petualang dan arkeolog. Steven menyarankan agar Indiana menjadi pejudi yang rajin atau pecandu alkohol, tetapi George ingin Indiana menjadi panutan yang "jujur dan benar dan percaya." Keduanya merasa penting Indiana menjadi bisa salah, rentan, dan mampu melakukan momen komedi seperti yang serius. Mereka bermaksud agar penonton bisa berhubungan dan mengidolakan Indiana. Lucas suggested Marion would have a romantic past with the much older Jones at the age of 11; Spielberg replied, "she had better be older".
Sementara Steven menyutradarai 1941 (1979), George menggunakan kantornya untuk menulis naskah Raiders of the Lost Ark dengan mengambil ilham dari seri awal abad ke-20 dan film petualangan seperti Red River (1948), Seven Samurai (1954), and The Magnificent Seven (1960). Dia menulis Jones sebagai antipahlawan, seorang arkeolog direduksi menjadi perampok kuburan. George wanted a supporting cast with their own unique characteristics and believed it was important these characters had a memorable impact. He described the hardest part of writing as explaining how Jones would fall into successive dangerous events and then survive, and how he traveled between locations. In August 1978, after approximately five months, Kasdan completed his first draft.
Spielberg described the draft as good but too long; Kasdan and Lucas collaborated to trim and refine it. The script was a globe-spanning tale set in the United States, Egypt, Greece, and Nepal. Several elements were cut, including a journey to Shanghai that would lead to a minecart chase and Jones using a gong to shield himself from gunfire; both ideas were re-used in the prequel Indiana Jones and the Temple of Doom (1984). To his frustration, much of Kasdan's love story between Jones and Marion was trimmed, as were scenes showing the mutual attraction between Marion and Belloq. The screenplay was completed by December 1979.
George ingin mendanai film ini sendirian, tetapi pada saat itu dia memiliki aset tunai yang terbatas. Kepala keuangan Lucasfilm Charles Webber dan pengacara Lucas Tom Pollock menawarkan proyek tersebut ke beberapa studio Hollywood. Mereka menolaknya, sebagian karena anggaran $ 20 juta yang diusulkan, tetapi juga karena kesepakatan yang ditawarkan Lucas. He wanted the studio to provide the budget, have no creative input and allow him to retain control of the licensing rights and any sequels. Despite believing the project had potential, studios considered this deal unacceptable. The studios were also hesitant because of Spielberg's involvement. Though generally successful as a director, he had delivered a succession of films over schedule and budget. His recent effort, 1941, was both over budget and a critical failure. Lucas refused to do the project without Spielberg.
Presiden Paramount Pictures Michael Eisner berkompromi dengan George dan menyetujui kesepakatannya dengan imbalan hak eksklusif atas sekuel apapun dan hukuman berat karena melebihi jadwal atau anggaran. George menyetujui persyaratan yang mencakup keterlibatannya dalam sekuel apa pun. Ia dilaporkan merundingkan gaji antara $1 juta dan $4 juta ditambah pembagian dari keuntungan kotor, meskipun laporan terpisah menyatakan dia hanya menerima keuntungan bersih. Steven menerima gaji hingga $1,5 juta sebagai direktur dan bagian dari laba kotor. George juga merundingkan $1 juta bagi Lucasfilm.
Spielberg tertarik untuk bekerja dengan produser Frank Marshall. Dia telah mengerjakan film independen yang lebih kecil, dan Spielberg percaya dia akan menjaga film sesuai jadwal dan anggaran. Spielberg juga menyewa sinematografer Douglas Slocombe dan desainer produksi Norman Reynolds karena dia menyukai karya-karya mereka sebelumnya dan kolaborator lamanya Michael Kahn sebagai editor and the film's executive producer, along with his acquaintance Howard Kazanjian, whom Lucas believed would be a disciplined influence and not indulge the filmmakers' larger ambitions. He also brought in his long-time collaborator Robert Watts as associate producer and production manager. Paramount mandated a filming schedule of 85 days; Lucas, Spielberg, and Marshall agreed on a self-imposed 73-day schedule. Spielberg was determined to avoid criticism for another schedule overrun.
Praproduksi yang berlangsung selama enam bulan bermula pada Desember 1979. Steven lebih suka menghabiskan waktu satu tahun bagi praproduksi, tetapi ia memilih bekerja lebih cepat demi menjaga biaya produksi tetap rendah. Steven dan George masing-masing mengerjakan proyek lain pada saat yang sama. Seniman Ed Verreaux, Dave Negron, Michael Lloyd, dan Joe Johnston provided extensive storyboarding, with over 80% of the script represented, equalling approximately 6,000 images. This helped Spielberg pre-visualize scenes and limit the time taken to set up shots. The script only described the opening of the ark as "all hell breaks loose", and the artists were tasked with envisioning what should happen. Each offered different aspects: spirits, flames, and weird light effects; Johnston was tasked with combining all three. Spielberg also had miniature sets of larger scenes built to plan layouts and lighting, including the Well of Souls, the Tanis dig site, and the Cairo marketplace. They contained 1-inch tall figurines to suggest how many extras would be required. Among changes made at this stage, Spielberg abandoned his idea for Toht to have a mechanical arm that could be replaced with a machine gun or flamethrower. Lucas said it put the film into a different genre.
George ingin memerankan aktor yang relatif tidak dikenal yang akan berkomitmen pada trilogi film untuk memerankan Indiana Jones. Mereka yang dipertimbangkan untuk peran antara Bill Murray, Nick Nolte, Steve Martin, Chevy Chase, Tim Matheson, Nick Mancuso, Peter Coyote, Jack Nicholson, Jeff Bridges, dan John Shea. Casting director Mike Fenton favored Bridges but Lucas' wife and frequent collaborator Marcia Lucas preferred Tom Selleck. Selleck was contractually obligated to filming the television series Magnum, P.I. if it were to be made into a full series. Lucas and Spielberg asked the show's studio, CBS, to release him early 10 days early from his contract. Realizing Selleck was in demand, CBS greenlit Magnum P.I., forcing him to drop out and leaving the production with no lead actor only weeks before filming. The actors' strike of 1980 later put the show on hiatus for three months, which would have allowed Selleck to star as Jones.
Steven mengatakan Harrison sempurna untuk peran itu setelah melihat pemeranannya di The Empire Strikes Back; Kanzanjian mengatakan Harrison selalu dipertimbangkan tetapi tidak ditunjuk sebagai pemeran karena dia sudah menjadi aktor terkenal. George was concerned about seeming reliant on Ford by casting him in another film after Star Wars, and he also did not think he would commit to three films. However, Ford thought it would be a fun project and agreed to the deal. He negotiated a seven-figure salary, a percentage of the gross profits, and the option to re-write his dialogue. Ford undertook extensive exercise to enhance his physique and trained for several weeks under stunt coordinator Glenn Randall to use a bullwhip, becoming proficient enough to disarm the Monkey Man (Vic Tablian). Ford had to rehabilitate his wrist to compensate for an old injury. Ford saw the character as an academic first and an adventurer second.
Untuk wanita yang disukai Indiana, Steven menginginkan seseorang yang mirip dengan wanita terkemuka awal abad ke-20 seperti Irene Dunne, Barbara Stanwyck, dan Ann Sheridan, yang menyamai rekan pria mereka. George menginginkan Debra Winger, tetapi dia tidak tertarik, dan Spielberg menginginkan pacarnya Amy Irving, tetapi dia tidak tersedia. They also considered Barbara Hershey and Sean Young. Karen Allen impressed Spielberg with her professionalism during auditions. One of the first things Spielberg asked Allen was "how well do you spit?" Allen developed a backstory for Marion that included her mother's death and her relationship with Jones when she was 15–16, but Spielberg said it belonged in a different movie. Kasdan named Marion after his grandmother-in-law, and took Ravenwood from a Los Angeles street.
René dimaksudkan untuk menjadi penjahat tangguh untuk melawan pahlawan "peminum bir". Spielberg cast Freeman after seeing him in the docudrama Death of a Princess (1980); Freeman's piercing eyes had captivated him. French Singer Jacques Dutronc and Giancarlo Giannini were also considered. Danny DeVito was approached to portray Sallah, described as a skinny, 5 ft (1,5 m) tall Egyptian like Gunga Din in Gunga Din (1939). DeVito could not participate because of scheduling conflicts with his sitcom Taxi and because his agent wanted too much money. Rhys-Davies was cast based on his performance in the 1980 miniseries Shōgun. Spielberg asked him to play the character as a mix of his Shōgun role and the character John Falstaff. Ronald Lacey was cast as Toht because he reminded Spielberg of the late-actor Peter Lorre. Klaus Kinski was offered the role but chose to appear in the horror film Venom (1981) because it offered more money.
Pengambilan gambar bermula pada 23 Juni 1980. Pengambilan gambar berlangsung di tempat-tempat di La Rochelle, Prancis; Tunisia; dan Hawaii, and on sets at Elstree Studios Studios, England. Elstree was chosen because it was well-staffed with artists and technicians who had worked on Star Wars. On-location shooting cost around $100,000 a day in addition to crew salaries; sets cost an additional $4 million. The production could only afford certain equipment for a limited time, including a Panaglide camera stabilizer for smoother shots, and a camera crane for higher angles. To maintain the tight schedule, Spielberg said he "...didn't do 30 or 40 takes; usually only four... Had I had more time and money, it would have turned out a pretentious movie."
Pengambilan gambar bermula di La Rochelle, dengan adegan yang direkam yaitu penangkapan Angin Bantu oleh U-boat Nazi. Watts borrowed a submarine from the war film Das Boot (1981) on condition it not be taken into deep waters. World War II German U-boat pens in La Rochelle represented the U-boat dock. An original coal-fired tramp steamer boat could not be found for filming, so an Egyptian boat found in an Irish port was decorated appropriately and sailed to France.
Produksi film kemudian berpindah ke Elstree Studios pada tanggal 30 Juni. Interior produksi termasuk adegan yang menampilkan seorang imam memecahkan sandi ketopong bajadan kuil Peru. Semasa melakukan pengambilan gambar terhadap adegan Sumur Jiwa, sering sekali terjadi penundaan disebabkan ketersediaan ular yang terlalu sedikit, kekurangan bahan penangkal racun, dan putri Stanley Kubrick, Vivian yang mengunjungi ayahnya di tempat pengambilan gambar The Shining— called the Royal Society for the Prevention of Cruelty to Animals (RSPCA) about the treatment of the snakes. The interior of Jones' school was filmed at The Royal Masonic School for Girls in Rickmansworth, near Hertfordshire; the exterior is the University of the Pacific in California.
Alih-alih melakukan pengambilan gambar di Mesir bagi adegan yang melibatkan tempat di Mesir, pihak produser menggunakan Tunisia sebagai gantinya. Spielberg menggambarkan fase ini sebagai salah satu pengalaman pembuatan film terburuknya: suhunya sering kali lebih dari 54 °C dan lebih dari 150 anggota kru menjadi sakit dengan disentri amoeba dari makanan lokal. Spielberg was one of the few to remain healthy because he ate food and water he brought from England. Lucas also suffered a severe sunburn and facial swelling. The Cairo village was filmed in the city of Kairouan. A day of filming was lost there because over 300 TV antennas had to be removed from the surrounding houses. Budget constraints impacted Spielberg's desire to have 2,000 extras as diggers; he had to settle for 600. Stuntman Terry Richards, who portrayed the swordsman nonchalantly dispatched by Jones, spent weeks practicing sword skills for an extended fight scene. Ford was unable to perform for long periods while suffering from dysentery, and it was decided to shorten the fight scene significantly. The Sidi Bouhlel canyon near the city of Tozeur is where a rocket launcher-equipped Jones confronts the Nazis for the Ark. Lucas had used the canyon in Star Wars to portray the planet Tatooine. During the scene, a fly crawled into Freeman's mouth during his dialogue, but he continued to deliver his lines.
Pada akhir bulan September, pengambilan gambar dipindahkan ke Hawaii untuk merekam adegan pembuka berlatarkan Peru. Logo Paramount yang melebur menjadi gunung alami merupakan improvisasi oleh Spielberg berdasarkan kebiasaan masa kecilnya melakukan hal yang sama semasa membuat film; gunung itu adalah Gunung Kalalea di Pulau Kaua'i. Meskipun adegan itu tampaknya berlatarkan satu tempat saja, tetapi pengambilan gambarnya dilakukan di 10 wilayah berbeda di Hawaii, termasuk Suaka Margasatwa Nasional Huleia. It was originally more elaborate and longer, featuring an added betrayal by one of Jones' guides, resulting in a fight, and it had more dialogue; this was deemed unnecessary and removed for a tighter paced sequence. The cave's exterior was considered a perfect location, though a nearby pool was a mosquito breeding ground; even with anti-mosquito equipment the crew was bitten. The donkeys used for the trek suffered lameness. It was difficult to find replacements, and eventually, a pair of grey donkeys were painted brown with hair spray and flown by helicopter to the Nā Pali Coast State Park to finish the scene.
Naskah yang terlalu rinci menyebabkan banyak improvisasi, ketika naskah menggambarkan tiga orang berbicara di sebuah ruangan, maka dalam film akan berlangsung di sebuah tambang bersama 500 pemeran tambahan. Adegan seperti gadis muda dengan tulisan "Love You" di seluruh kelopak matanya dan Marion yang mengenakan gaun untuk menyembunyikan senjata juga diimprovisasi. Allen, Lacey, Freeman, and Rhys-Davies sering menghabiskan waktu bersama di sela-sela pengambilan gambar untuk berbincang-bincang dan membahas watak mereka. Allen menggambarkan Harrison sebagai pribadi yang tidak akan membahas wataknya secara rinci dan butuh beberapa saat untuk beradaptasi dengan gaya kerjanya. Pengambilan gambar dituntaskan pada bulan September 1980 dengan menghabiskan waktu 73 hari. Lucas menggambarkannya sebagai film yang paling sedikit bermasalah karena kurangnya gangguan studio.
Pascaproduksi berlangsung sekitar dua bulan dan berfokus terutama pada efek khusus dan pengambilan gambar berskala kecil. Versi awal film berdurasi hampir tiga jam sebelum Steven dan Kahn mennyunting ulang menjadi hanya kurang dari dua jam. Lucas was happy with this edit, but later asked if he could shorten the ending. He and Kahn collaborated on the edit; Spielberg said he was happy with their changes. The final cut of the film runs for 115 minutes. Marcia Lucas opined there was no emotional closure for Jones and Marion because she was absent following the closure of the Ark. Marcia is not credited in the film, but her suggestion led Spielberg to shoot a final exterior sequence on the steps of San Francisco City Hall showing Jones and Marion together.
Other changes included the addition of a scene where the Ark makes a humming noise in the Bantu Wind hold and the removal of a scene showing Jones holding on to the U-boat periscope to follow the Nazis; Spielberg thought it looked poor and hoped the audiences would not care how Jones accomplished the feat. Lucas removed a scene of a man fainting at the sight of Indiana and Marion emerging from the Well of Souls because he thought the joke did not fit with the tone of the movie. Shots of the Douglas DC-3 in which Jones flies to Nepal were repurposed from the adventure film Lost Horizon (1973), and a street scene outside Jones's home was taken from The Hindenburg (1975). Spielberg said it was cost-effective and only sharp-eyed viewers would ever notice. Special effects supervisor Richard Edlund maintained the street scene was done with miniatures.
Raiders of the Lost Ark: Original Motion Picture Soundtrack adalah musik film dari film Steven Spielberg tahun 1981, Raiders of the Lost Ark. Musik tersebut dikomposisikan dan dikonduksikan oleh John Williams, dan dipentaskan oleh London Symphony Orchestra.
John Williams menjadi komposer bagi film ini. Ia mengatakan musik tidak harus serius untuk film dan malah harus teatrikal dan berlebihan. Williams spent a few weeks working on the Indiana Jones theme, more commonly known as "The Raiders March" that plays during the main character's heroic scenes. Two separate pieces were played for Spielberg, who wanted to use both. These pieces became the main theme and musical bridge of "The Raiders March".
Untuk lagu tema romantis, Williams mengambil ilham dari film-film lama seperti drama Now, Voyager (1942) untuk menciptakan sesuatu yang lebih monumental secara emosional yang menurutnya akan sangat kontras dengan humor film dan momen-momen ringan. Williams used "dark" orchestral pieces to represent the actions of the Nazis, using a "seventh degree on a bottom scale". He said this signified a militaristic evil. To create something suitably biblical for the Ark of the Covenant, he used a mix of chorus and orchestra.
Ukuran bagian dalam kuil Peru sama seperti aslinya. Batu besar yang terbuat dari fiberglass, plaster dan kayu dirancang dengan lebar 20 m, tetapi dikurangi menjadi 6,7 m dengan berat 140 kg. Spielberg liked the effect and had its ramp extended to give it more screen time. The boulder was controlled by a steel rod concealed in the wall by rubber rock outcroppings. Ford performed the stunt ten times for the different camera angles. Spielberg said he was an idiot for letting Ford do it, but it would not have looked as good with a stuntman concealing their face. Ford performed as many of his stunts as was allowed throughout Raiders, suffering various injuries. The tarantulas on Molina's body would not move because they were male and non-aggressive. A female spider was put on his chest to encourage movement. Abandoned ideas for the temple included a crushing wall trap and a pit concealed by spider-webs. The golden idol also had mechanically operated eyes that could follow Jones. For the last part of the scene where Jones flees by plane, the first take ended in near-disaster when the plane crashed from a height of 20 ft (6,1 m) because Ford's dangling leg was blocking the aircraft's right flap.
Pengambilan gambar bagi adegan Sumur Jiwa awalnya tertunda karena kurangnya ular. Ada 500-600 ular yang digunakan untuk pengambilan jarak dekat dan beberapa ular buatan untuk pengambilan yang lebih luas, tetapi Steven menginginkan lebih dari itu. Sebuah permintaan dibuat untuk pawang ular dari sekitar London dan Eropa yang menghasilkan antara 6.000 dan 10.000 ular dalam beberapa hari. Afterward, they struggled to obtain anti-venom, and local supplies had expired; it had to be imported from India. The stage doors were kept open during filming for quick access to a waiting ambulance. Spielberg recounted that Allen was so scared she could not scream on cue. He dropped a dead serpent on her to elicit a genuine reaction. Allen said she got used to the creatures after 3–4 days. Animal handler Steve Edge donned a dress and shaved his legs to stand in for Allen at specific points. Vivian Kubrick's complaint to the RSPCA about the perceived poor treatment of the snakes required production cease while safeguards were added.
Norman dan seniman produksi Ron Cobb menciptakan sayap terbang BV-38 berdasarkan Horten Ho 229, Northrop N-1M dan Vought V-173. Constructed by the British engineering firm Vickers, it was dismantled and shipped to Tunisia. It was not designed to be flight-worthy, only to serve as a source of danger from its propellers. The plane was abandoned in Tunisia and slowly dismantled over the following decade by souvenir hunters before being demolished. The fight between Jones and the German underneath the plane was mainly improvised; Spielberg had to restrain himself from making it too long as each new idea led to another. During the fight, the moving vehicle rolled over Ford's foot and towards his knee before it was stopped. It took 40 crew members to move it off of him. He avoided injury through a combination of the extreme Tunisian heat making the tire soft and the ground being covered in sand. Dysentery had left the production with a lack of stuntmen, and Spielberg had Marshall stand in as the flying wing pilot. The three-day shoot was one of Spielberg's more difficult scenes to film, and he was reported saying he wanted to go home.
Sutradara unit kedua Michael D. Moore memfilmkan sebagian besar pengejaran truk. Spielberg had not used a second director before but agreed to it as the scene would take a long time to film being set in multiple locations. Moore completed wider shots where stuntmen stood in for Ford. He closely followed Spielberg's storyboarding but innovated a few shots Spielberg considered improvements. Stuntman Glenn Randall suggested the scene of Jones traversing the underside of the truck. Ford sat in a concealed bicycle seat attached to the truck underside when clinging to its front. One of the convoy cars going over a cliff was a combination of matte painting background and stop motion animation of miniature figures falling out of the car.
Industrial Light & Magic (ILM) milik George menangani efek khusus film dengan pengawasan Richard Edlund. Tim ini bekerja dalam produksi film Raiders of the Lost Ark dan film fantasi gelap Dragonslayer (1981). George merasa efek khusus adalah metode ekonomis untuk menghasilkan film yang bagus. Selama penonton menghayati alur film, dia berkata bahwa penonton akan membeli tiket film ini bahkan jika efek khusus film ini buruk. Spielberg liked practical effects because he could regularly check the raw footage during filming, rather than waiting months for the completed composite effects.
Freeman mengatakan ia tidak tahu apa yang terjadi ketika da membuka Tabut Perjanjian itu. Dia diberitahu untuk membayangkan sesuatu datang ke arahnya dan berteriak. Seniman efek khusus Steve Gawley menciptakan roh Ark dengan menangguhkan boneka berjubah kecil di tangki air keruh di depan layar biru. They were shaken to create a natural movement that was composited into the live footage. A Lucasfilm receptionist, dressed in a long white robe, was suspended in the air in front of a blue screen for the close-up of the ghost. She was filmed moving away from the camera and the footage was reversed to create an inhuman movement. Her visage was composited with a skeletal model for the monstrous transformation.
Adegan kematian Freeman, Lacey, dan Kahler dibuat dengan menggunakan model yang berbeda. Sebuah cetakan dibuat menyerupai wajah Kahler dan dilapisi dengan kandung kemih berisi udara. Udara cetakan itu dihilangkan untuk membuat kepala mengerut. Cetakan itu dikendalikan hingga sepuluh orang. Special effects artist Chris Walas sculpted Lacey's melting face using different colored layers of gelatin placed over a carved, heat-resistant stone skull. Propane heaters were used to melt the gelatin and filmed using a slower-than-normal camera so the effect appears to take place rapidly when played at normal speed. Belloq's head mold contained a thin-plaster skull filled with blood bags and detritus. It was blown up using explosives, shotguns, and an air cannon. It took three attempts to get the desired effect. Belloq's death was considered so extreme the Motion Picture Association of America initially classified the film with an R rating restricting it to those over the age of 17 without an adult. Flames were superimposed over the scene to conceal the effect.
Kasdan membuat naskah montase terperinci selama transisi produksi film antarlokasi, tetapi Steven menghemat uang dengan menampilkan peta dan garis animasi yang bergerak antartujuan. Tengkorak dan jasad membusuk yang dibuat oleh kepala penata rias Tom Smith memenuhi katakombe Sumur Jiwa. To get the monkey to perform a Nazi salute, the trainer hit it on the head to make it touch the affected area. When this did not work, the filmmakers hung a grape over its head to encourage it to reach up; it took 50 takes to capture. A partially deaf rat was used for the scene of the ark humming in the hold of the Bantu Wind, giving it a unique and unnatural head movement.
Lukisan matte digunakan untuk menciptakan latar belakang yang lebih rumit. Penggunaan lukisan matte di antaranya pengambilan gambar pembuatan bar Nepal Marion dan gudang tempat Tabut Perjanjjian kemudian disimpan. Lukisan matte di adegan terakhir dilukis oleh Michael Pangrazio. Spielberg tidak menyukai lukisan pesawat China Clipper (oleh Alan Maley) karena menurutnya lukisan tersebut tidak terlihat nyata terhadap air yang telah mereka rekam. Jones's attire—a leather jacket and khaki pants—was based on Humphrey Bogart's in The Treasure of the Sierra Madre (1948) and Charlton Heston in Secret of the Incas (1954). Costume designer Deborah Nadoolman Landis dumped boxes of hats on the floor for Ford to try on. After picking the right style, she purchased an Australian model she aged with Fuller's earth and mineral oil, and then scrunched beneath a bed. The hat allowed them to create a recognizable image even in silhouette. Designer Ralph McQuarrie was responsible for the Ark decorations.
Steven menginginkan gaya pencahayaan film noir yang lebih lembut seperti The Informer (1935). Sebaliknya, Slocombe ingin membuat segalanya lebih cerah dan menggunakan cahaya latar untuk menciptakan kedalaman bidang yang lebih besar; Steven lebih menyukai gayanya. Slocombe sering menggunakan cahaya alami, menggunakan perkiraan posisi matahari untuk merencanakan tata letak adegan. Spielberg liked the beams of sunlight glimpsed through scenery and tasked special effects artist Kit West with using a smoke machine to create artificial sunlight shards. For the bar fight, Spielberg wanted pitch-black shadows on the wall, but the lighting required to achieve this would have shrouded the actors' eyes; he settled for subtler shadings. He also wanted to illuminate the Well of Souls with a lighting effect through the ceiling opening, but once this was sealed it no longer made sense. The flaming torches used in the scene did not provide enough light, so he opted to use an artificial light source. Spielberg noted Allen always looked beautiful in her scenes because Slocombe would spend twice as long setting up her lighting as he would Ford's.
Pengawas efek suara Ben Burtt berkontribusi banyak dalam merekam suara film itu. The snake slithering is a mix of Burtt running his hands through cheese casserole and wet sponges being dragged across grip tape; the rolling boulder is a Honda Civic driving down a gravel hill; and the Ark lid opening is the sound of a toilet cistern being opened. The Ark spirits are the cries of sea lions and dolphins filtered through a vocoder. Jones's revolver is the sound of a Winchester rifle firing, while his whip-crack was made by recording Ford using the whip.
Pada musim panas tahun 1981 (Juni–September), industri film mengalami penurunan selama lebih dari setahun, yang berpunca dari beberapa kesuksesan film terlaris, kenaikan biaya produksi film, berkurangnya penonton, dan kenaikan harga tiket. Musim ini diperkirakan turun 10% atau $250 juta dibandingkan tahun sebelumnya. Over 60 films were scheduled for release—more than the previous year—by studios eager to make the next blockbuster film. This increased competition to attract audiences, mainly those aged 12 to 24, at the most profitable time of the year.
Film adiwira Superman II diperkirakan menguasai musim panas, dan berdasarkan para ahli industri dan jajak pendapat penonton, film-film seperti History of the World, Part I, film James Bond terbaru, For Your Eyes Only, dan The Great Muppet Caper, juga diperkirakan tampil dengan baik. Conversely, audience polling by CinemaScore showed little awareness or anticipation for Raiders until nationwide previews a week prior to its release. The New York Times reported Paramount had provided theater owners with a more beneficial deal than usual to ensure Raiders was screened in the best theaters and locations.
Acara pers untuk film ini menelan biaya $10.000, dengan menampilkan dua unta, gajah, dan ular piton. Film prints were supplied to theaters in lead-sealed containers to prevent tampering alongside a letter to theater managers stating they were responsible for any misuse of the film. This letter inspired a whistleblower at one theater to alert Paramount of the planned theft of a Raiders print to make pirated copies. The 1,200 film prints cost an estimated $1.7 million.
Film ini tersebut pertama kali ditayangkan di SCTV pada akhir tahun 1991 dan tayang lagi di TransTV pada 2 Agustus 2020
Di Amerika Serikat dan Kanada, Raiders of the Lost Ark ditayangkan pada 12 Juni 1981 di 1.078 bioskop. Film ini meraih $8,3 juta, dengan rata-rata $7.705 tiap bisokop, dan tamat sebagai Daftar film berpendapatan tertinggi di Amerika Serikat 1981 pada akhir pekan, menjelang penayangan Clash of the Titans ($6,6 juta) dan History of the World, Part I ($4,9 juta). The film fell to the number three position in its second weekend with an additional gross of $8 million—a decline of only four percent—behind the debuts of The Cannonball Run ($11.8 million) and Superman II ($14.1 million). By its fourth week, Raiders began climbing box office charts, reaching the number two position with a gross of $7.3 million, behind Superman II ($10.9 million). In its sixth week, it regained the number one position with $6.4 million. The film spent most of the following nine weeks as the number one film, and forty-weeks straight as one of the top ten highest-grossing films. It was declared the top box office film of the summer by early September, with a total approximate gross of $125 million. Of this figure, $72 million was estimated to have been returned to the studio; the profit-sharing deal with Spielberg and Lucas meant that after marketing costs, Paramount had earned $23 million in profit.
Film ini tetap berhasil dengan meyakinkan. Enam bulan selepas penayangan, eksekutif industri perfilman berkelakar Raiders of the Lost Ark akan menjadi film Natal terlaris pada tahun itu. The film officially left theaters on March 18, 1982, although some were still playing it by July. Raiders earned an approximate total box office gross of $212.2 million, making it the highest-grossing film of 1981, ahead of On Golden Pond ($119.3 million), Superman II ($108.1 million), and Stripes ($85.3 million). An estimate by Box Office Mojo suggests over 77 million tickets were bought to see the film. Raiders remains the "leggiest" film ever released, referring to the difference between the highest-weekend gross and the time taken to achieve the overall total gross.
Di luar Amerika Serikat dan Kanada, Raiders of the Lost Ark meraup $141.7 juta, sehingga menjadikannya film terlaris, mengalahkan For Your Eyes Only ($140.5 juta) and Superman II ($82.2 juta). In total, the film earned a worldwide gross of $354 million, making it the highest-grossing film of 1981 worldwide, again ahead of For Your Eyes Only ($195.3 million) and Superman II ($190.4 million).
Raiders of the Lost Ark telah ditayangkan kembali beberapa kali, yang pertama pada Juli 1982, yang menghasilkan tambahan $21.4 juta dan selanjutnya pada Maret 1983, when the film earned an additional $11.4 million. A remastered IMAX version, supervised by Spielberg, was released in 267 U.S. and Canadian theaters. The success of the release led to the run being extended to 300 additional theaters. These releases have raised the film's worldwide theatrical gross to an estimated $389.9 million.
Rekor pendapatan musim panas tahun 1981 senilai $1,95 miliar menunjukkan peningkatan sebesar 15,6% dibandingkan tahun 1980, dengan peningkatan penjualan tiket sebesar 22,5%. Keberhasilan ini terutama disebabkan oleh Raiders of the Lost Ark dan Superman II. The most successful film genres of the year offered fun, comedy, and escapism. Superman II broke box office records, but it was Raiders that earned the most money and played in theaters for over a year. The New York Times reported that audiences only considered other films if both Superman II and Raiders were sold out. It became one of the top-four highest-grossing films ever, a list dominated by Lucas and Spielberg with The Empire Strikes Back, Jaws, and Star Wars.
Raiders of the Lost Ark mendapatkan sambutan yang bagus dari kalangan kritikus dan penonton. The National Board of Review and critic Vincent Canby listed it as one of the ten best films of the year. Canby labelled the film an "instant classic" and one of the most humorous and stylish American films ever made. He described it as having refined the old serial films into their most perfect form for a modern audience. Roger Ebert called it a series of "breathless and incredible" adventures inspired by and celebrating childhood stories told in comic books and movies. He concluded the film is successful in its singular goal of entertaining, creating an adventure epic in the vein of Star Wars, the James Bond films, and Superman. Writing for The Hollywood Reporter, Arthur Knight said a constant stream of thrills kept the film moving at a steady pace. Writing for Variety, Stephen Klain called the film "exhilarating escapist entertainment". He continued that the film successfully balanced action, comedy, and suspense with mystical mythologies. Michael Sragow described it as the "ultimate Saturday action matinee". Gene Siskel said it was as entertaining as a "commercial movie" could be, the kind of film that makes children excited about cinema.
Richard Schickel menyebut film ini kembali ke bentuk untuk Spielberg, menunjukkan kompetensi tidak terlihat sejak Jaws. Dia menggambarkannya sebagai film yang akan dibuat Walt Disney seandainya dia masih hidup, menampilkan kombinasi "mempesona" antara fantasi dan gerakan sinematik. Stanley Kauffmann said while the film's thrills did work on him, the frequency eventually irritated him. He criticized the film's reliance on nostalgia and updating older films instead of innovating new ideas. Pauline Kael was critical of the film, saying Lucas and Spielberg had thought like marketeers, in creating a film that would appeal to the broadest masses. Kael said though Raiders is a sophisticated update of older serials, that avoids cliches with clever editing, it is too focused on surpassing each previous action spectacle to the detriment of characterization or plot progression. She opined the failure of 1941 had made Spielberg too cautious, and scenes evidenced he was rushing and not achieving the best possible take as in his previous work. Lucas later named a villain in his 1988 fantasy film Willow after Kael. Dave Kehr said the constant rush between setpieces felt monotonous. He also criticized the story for allowing the hero to choose to rescue the Ark over his romantic interest on multiple occasions, believing it made Indiana Jones difficult to support.
The principal cast was generally well-received. Ebert said the amusing and unusual characters elevated the film beyond just a technical accomplishment. He described Ford's performance as taciturn and stubborn character in the vein of Humphrey Bogart in The Treasure of the Sierra Madre, but with the ability to laugh at himself. Klain described Ford's performance as "riveting", marking a major career highlight. Canby described Ford and Allen as both "endearingly resilient". Ebert said Allen gives Marion a charming toughness. Knight appreciated Marion did not become idiotic when the male star was in danger. His review concluded the character was the definition of an activist. Srawgow said Allen's physical performance made her every bit the equal of Ford, and her vitality provided a positive counter to Ford's deadpan performance. Kael was critical of many cast performances, feeling they were stilted and heavily scripted. She singled out Freeman for praise, however, for continuing his performance after a fly crawled into his mouth; Freeman jokingly called it the best review of his career. Klain called Lacey's Toht one of the most offensive Nazi stereotypes seen in cinema since World War II. However, he praised Rhys-Davies's and Elliott's performances.
Several reviewers singled out the opening of the Ark as one of the film's best special effects. Knight said the effects artists deserved a "special accolade" for their work. Canby described it as a visual display as "dazzling" as the denouement of Spielberg's Close Encounters of the Third Kind. Ebert said the truck chase stunt was the best he had ever seen, ahead of those in films like Bullitt (1968) and The French Connection (1971). Aljean Harmetz, Klain, and Siskel asserted the film's PG rating—meaning any child could see it unsupervised—was too lenient for such a scary film filled with a variety of on-screen deaths. An intermediate rating between PG and R, PG-13, would not be introduced until 1984, in part a response to the violence of the Indiana Jones prequel, Indiana Jones and the Temple of Doom. Some children were reported to have suffered nightmares afterward.