RAIDERS IS 40

In June, 1981, audiences facing the big screen were introduced to the first film featuring the character of Indiana Jones. The brainchild of a team led by Steven Spielberg and George Lucas, Raiders of the Lost Ark presented a storytelling ride that reinvigorated the moviegoing experience. On one hand, it displayed the virtuosity of classical motion picture epics, while adding on the other a freshness in its incorporation of narrative, dramatic and filmic elements. With a story, character and spectacle that became a staple for modern filmmaking, it remains, 40 years later, an unmissable cinematic achievement for audiences of all ages.

The plot, set in 1936, follows the story of Indiana Jones, renowned archaeologist, as he is summoned by the United States government to find the mythical Ark of the Covenant. He must do so before the Nazis locate its hidden resting place in Egypt, as the artifact, believed to irradiate supernatural power, is feared to be destructive in the wrong hands. In a pursuit that crosses jungle, desert and sea, Indy is joined by old friends and foes along the way. They include his love of yesteryear, Marion, his pal and excavator, Sallah, and rival archaeologist Belloq.

Raiders hooks from the moment it opens, on a mission deep in natural South American territory, a teaser that introduces both main character and nemesis. With creative input from Phillip Kaufman and Lawrence Kasdan, the filmmakers aimed to bring history and mythology to modern audiences, and to resurrect the spirit of the 1930’s serials – with an edge . Extending both concept and format to a feature, the result is a force of classic cliff-hangers with their uninterrupted pay-off, as every feat is topped with an action by the heroes. The film builds and unleashes dramatic spectacle and narrative twists, where characters who expected to survive end up dead soon after, and characters believed to be dead are found alive later on.

 The film charms directly through its lead character, portrayed by Harrison Ford. He is determined, knowledgeable, audacious and ingenious, keeping his manners when teaching but straightforwardly putting all his strength in the field. Part of the reason Indy is so relatable is that, as Lucas puts it, he is not an all-powerful hero and often gets in trouble, either before or falling short of an accomplishment . He also has a specific arc to go through, where he tests his lack of belief in the supernatural and satisfyingly redevelops a sentimental relationship.

Raiders’ co-lead and Indy’s quest partner, Marion Ravenwood, is gracefully brought to life by Karen Allen. Energetic, and ready to challenge and outsmart the villains and even Indiana himself, she is his match and equal for the high octane they embark on. The character, clear in Spielberg’s vision but with scarcer tracking on the script than Indy, allowed Allen to explore and reinvent a role traditionally defined as the love interest . From the freedom in this collaborative process, providing both wit and jumps into action, was born what her portrayer once referred to as the heroine (no longer the damsel) in distress.

 

Also featured are Paul Freeman as René Belloq, Ronald Lacey as Major Toht, Denholm Elliot as Marcus Brody, and John Rhys-Davies (Lord of the Rings, James Bond and Victor/Victoria) as Sallah. Supporting roles include those from a young Alfred Molina (of later Doctor Octopus fame), Pat Roach (who would play different henchmen for Indy to face in different entries), George Harris (Kingsley Shacklebolt in the Harry Potter series), William Hootkins (featured in the Star Wars, Batman, Superman and Pink Panther movies), and even legendary VFX artist Dennis Muren (Star Wars, Jurassic Park) in a cameo appearance.

To those interested in film production history, the stories about the making of the movie are as intrepid as the movie itself. With the success of Jaws and Close Encounters of the Third Kind, Spielberg wanted to helm a James Bond film, while Lucas, fresh off Star Wars, sought to revisit his artefact hunter concept . They joined forces, surrounded by figures like Frank Marshall, Kathleen Kennedy, production designer Norman Reynolds, sound designer Ben Burtt and 2nd unit director Mickey Moore. They were able to do quick and dirty filmmaking, with crews in different countries and even facing sickness from the cast (which resulted, in Ford’s case, in nixing a whip versus sword fight for what became Indy famously shooting a swordsman).

A key factor in the longevity of the film has been its enduring iconography. In the opening shot, for instance, the Paramount logo dissolves into a similar mountain in the jungle where the action takes place. An Indiana Jones feature like the 20th Century Fox Fanfare is to George Lucas’ Star Wars movies, it’s both a wink to the spectator and a thrust into the story. The choice, inspired by a young Spielberg’s wonder in moviemaking with his fictional Playmount Productions , at once instils its auteurs’ fingerprints of love for cinema and still bringing new spins to its legacy.

Indy’s costume, designed by Deborah Nadoolman from Spielberg’s sketches, is another icon associated with the story that helped it become imprinted in film culture. The leather-jacket adventurer not only carries a whip and gun, but wears a fedora whenever he is out in the field. A distinctive Herbert Johnson model in real life, it is on his head until he is forced to protect it from sailing away in the sea. The hat, just like any other but unique (Nadoolman’s thought process ) and with a worn out look and feel, became synonymous with the character and adventures.

An iconic performance to highlight is that of Ronald Lacey’s scene-stealing Toht, the Gestapo agent. The actor portrays the villain coming across Marion several times, with a composed – and to an extent affable – but pressuring demeanor. He misleads the characters (and the audience) into not being dangerous when he really is and, conversely, implies threats that turn out to be gags. With a black coat and hat, sharp and rounded glasses, and an ill-omened grin at all times, he is a character sure to intimidate and elicit responses with a quiet laugh or a high-pitch scream.

Raiders soars on the screen with its cinematography, under the direction of Douglas Slocombe. Whether the greenery of the jungle, the coldness of Nepal exteriors and warmth of its taverns, or the arid landscapes of the desert, colors are rich and saturated enough to make audiences feel in the movie. The filmmakers went for a look that was as naturalistic as possible, to aid the spectator’s belief in the experience of the escapades and otherworldly events . If flesh tones ground the picture in reality, the golden hues of hidden treasures further draw the senses into it.

The editing, in the hands of Michael Kahn, appeals to contemporary tempos while keeping its bridge to traditional filmmaking. Without resorting to frenetic cutting but going beyond classical continuity editing, its pace is relentless, the action being reinforced – in Spielberg’s words – with inserts, reactions and head turns . That Raiders shows moments at the time they should naturally be appearing speaks of two sensibilities: planning and instinct-in-the-making. The movie was storyboarded beforehand and thus cut in camera, but also, the rhythm and momentum of the shot footage would inform the director and editor of when and where to take the picture .

The film’s special and visual effects presented a groundbreaking showcase for both audiences and the technological medium. In a scene that takes the adventure down the route of fantasy and horror, the ark displays its powers beyond the imagination of its witnesses. Led by Industrial Light & Magic with Richard Edlund (Poltergeist) and Chris Walas (Gremlins), practical tricks and composites climax in the melting faces of the artifact’s defiers, an image unforgettable once experienced . The fun in the results can be appreciated then and now, with either terror or hilarity at seeing characters morph like cartoons until their destruction.

Finally, a vital component, almost a character on its own, is John Williams’ score for the movie. Performed by the London Symphony Orchestra and emulating the action, it is as involving as Williams’ compositions for Jaws, Superman, Star Wars, Jurassic Park and Harry Potter. The music presents a journey itself, with The Raiders March swinging its trumpets whenever a heroic feat takes place. The main identity is rounded up by the cozy melody of Marion’s theme, and the ominous tune for the Ark, building the story’s reach in both mystery and horror variations.

Over the 80s, Spielberg and Lucas would complete one of the quintessential trilogies of cinema, with a TV series and another sequel in the following decades. Venerating traditions but pushing boundaries, the filmmakers continued to give audiences a character through whom to grow with an arc and experience set pieces and creepy crawlers. Yet what continues to make Raiders the reference point is its masterful blend and balance of genres. With moments of action, adventure, humor, romance, historical fiction, horror, mystery and fantasy, its mileage doesn’t run out with the years.

June 16, 2021

References

  Ganis, S., Kazanjian, H. (Producers), & Schuman, P. (Director). (1981). The Making of ‘Raiders of the Lost Ark’ [Documentary]. United States: Lucasfilm, Santo Domingo Film & Music Video

  Bouzereau, L., Rowen, M. (Producers), & Bouzereau, L. (Director). (2003). Indiana Jones: Making the Trilogy. [Documentary]. United States: Paramount Home Entertainment 

  Bouzereau, L. (Producer & Director). (2008). Indy’s Women: The American Film Institute Tribute. [Documentary]. United States: Paramount Home Entertainment

  Bouzereau, L., Rowen, M. (Producers), & Bouzereau, L. (Director). (2003). Indiana Jones: Making the Trilogy. [Documentary]. United States: Paramount Home Entertainment 

  Bouzereau, L., Rowen, M. (Producers), & Bouzereau, L. (Director). (2003). Indiana Jones: Making the Trilogy. [Documentary]. United States: Paramount Home Entertainment

  Bouzereau, L., Rowen, M. (Producers), & Bouzereau, L. (Director). (2003). Indiana Jones: Making the Trilogy. [Documentary]. United States: Paramount Home Entertainment

  Bouzereau, L., Rowen, M. (Producers), & Bouzereau, L. (Director). (2003). Indiana Jones: Making the Trilogy. [Documentary]. United States: Paramount Home Entertainment 

  Ganis, S., Kazanjian, H. (Producers), & Schuman, P. (Director). (1981). The Making of ‘Raiders of the Lost Ark’ [Documentary]. United States: Lucasfilm, Santo Domingo Film & Music Video

  Bouzereau, L. (Producer). (2012). On Set with Raiders of the Lost Ark [Documentary]. United States: Lucasfilm

  Bouzereau, L. (Producer & Director). (2008). Raiders: The Melting Face! [Documentary]. United States: Paramount Home Entertainment