
Also Known As: Indiana Jones and the Raiders of the Lost Ark

Country: USA
Language: English (and German, Hebrew, Spanish, Arabic & Nepali)
Runtime: 115 minutes
BBFC: A (1981) | PG (1987)
MPAA: PG

Original Release: 12th June 1981
UK Release: 30th July 1981
First Seen: VHS, c.1991

Stars
Harrison Ford (Star Wars, Witness)
Karen Allen (Animal House, Starman)
Paul Freeman (The Long Good Friday, Mighty Morphin Power Rangers: The Movie)
Ronald Lacey (Take a Girl Like You, Red Sonja)
John Rhys-Davies (The Naked Civil Servant, The Lord of the Rings)
Director
Steven Spielberg (E.T. the Extra-Terrestrial, The Adventures of Tintin: The Secret of the Unicorn)
Screenwriter
Lawrence Kasdan (The Empire Strikes Back, The Bodyguard)
Story by
George Lucas (THX 1138, Return of the Jedi)
Philip Kaufman (The Outlaw Josey Wales, The Right Stuff)

The Story
1936: adventurer Indiana Jones is hired by the US Army to retrieve the mythical Ark of the Covenant, which they believe is on the verge of being uncovered in Egypt, before the Nazis can get their grubby mitts on it.

Our Hero
Professor of archeology, expert on the occult, and obtainer of rare antiquities, Indiana Jones. Good with a whip; not good with snakes.
Our Villains
Dr. René Belloq, essentially the evil Indy: a fellow archeologist with fewer scruples, who often takes credit for Indy’s hard work and is now in bed with the Nazis. They’re most memorably represented by creepy Gestapo agent Toht, played by Ronald Lacey, who was cast because he reminded Spielberg of Peter Lorre.
Best Supporting Character
The daughter of Indy’s mentor, and his one-time love, Marion Ravenwood, who’s roped in because she happens to possess an artefact with a clue to the Ark’s location. Feisty and capable of holding her own (some of the time, anyway), it’s a shame she didn’t appear in the initial sequels — at Lucas’ insistence, apparently (he also kept her out of the spin-off novels). She eventually returns in Kingdom of the Crystal Skull, the only character from the first three films to be brought back for that adventure (besides Indy, obv.)

Memorable Quote
Sallah: “Indy, why does the floor move?”
Indiana: “Give me your torch… Snakes. Why’d it have to be snakes?”
Memorable Scene
Goodness, where do we start? Well, how about the start! Having made his way safely through a boobytrapped cave, Indy switches a bag of sand for the idol he’s come to retrieve. Unfortunately the trap is not fooled, and Indy has to run out as the place collapses around him and all the traps are triggered — including, most famously, a giant rolling boulder.
Write the Theme Tune…
It’s only one of the greatest movie main themes of all time. Composed by John Williams (of course) it’s technically called The Raiders March, and is a combination of two ideas Williams wrote for Jones’ theme that Spielberg suggested be put together to make one piece.
Technical Wizardry
The film is naturally packed with stunts, one of the most memorable being when Indy is dragged under and out behind a moving truck. To achieve it safely, more clearance was created under the truck by constructing one that was higher than normal and digging out the centre of the road. The shot was filmed at 20fps, lower than the standard 24, so that when played back the truck appeared to be moving faster. The feat was performed by stuntman Terry Leonard, but Harrison Ford was actually dragged behind the truck for some shots. When asked if he was worried, Ford replied, “No. If it really was dangerous, they would have filmed more of the movie first.”
Truly Special Effect
The climax, when the Ark is opened, was a field day for ILM. Techniques used include “animation, a woman to portray a beautiful spirit’s face, rod puppet spirits moved through water to convey a sense of floating, a matte painting of the island, and cloud tank effects to portray clouds.” Plus the villains’ heads melt (a gelatine and plaster model exposed to a heat lamp), collapse (a hollow model with the air sucked out), and explode (which nearly landed the film with an R rating).

Making of
Have you heard the one about the scheduled sword fight and everyone being ill? You have? Oh, okay then.

Next time…
The film was a massive success, so has spawned tonnes of media. Primarily, three direct sequel films, with a fifth set for 2019. Then there’s the three-season TV series The Young Indiana Jones Chronicles, 13 adult novels, 33 Young Indiana Jones novels, 11 “choose your own adventure”-style books, eight German novels (which have never been translated into English), numerous comic books, and 19 computer games, including nine with original storylines and two Lego Indiana Jones games. Also, a stunt show at Walt Disney World in Florida based on Raiders that has been running for 27 years. Whew!

Awards
5 Oscars (Editing, Art Direction-Set Decoration, Sound, Visual Effects, Special Achievement in Sound Effects Editing)
4 Oscar nominations (Picture, Director, Cinematography, Score)
1 BAFTA (Production Design/Art Direction)
6 BAFTA nominations (Film, Supporting Artist (Denholm Elliott), Cinematography, Editing, Music, Sound)
7 Saturn Awards (Fantasy Film, Actor (Harrison Ford), Actress (Karen Allen), Director, Writing, Music, Special Effects)
2 Saturn nominations (Supporting Actor (Paul Freeman), Costumes)
Won the Hugo for Best Dramatic Presentation

What the Critics Said
“Yes, it’s as entertaining as you have heard. Maybe more so. Raiders of the Lost Ark is, in fact, about as entertaining as a commercial movie can be. What is it? An adventure film that plays like an old-time 12-part serial that you see all at once, instead of Saturday-to-Saturday. It’s a modern Thief of Baghdad. It’s the kind of movie that first got you excited about movies when you were a kid. (Translation for today’s children: It’s better than anything on TV.)” — Gene Siskel, Chicago Tribune
What the Public Say
“Spielberg and George Lucas had, in the same year, rewritten the rules of the science fiction genre; Lucas with Star Wars and Spielberg with Close Encounters of the Third Kind, but what could they do together? Greatness, it turns out. Their contribution: Raiders of the Lost Ark, one of the best, most exciting, most brilliantly written action movies of all time. It’s fun, it has a great sense of wonder and adventure. It’s scary, it’s bloody, it’s violent but you never come away feeling unclean. It has a hero, Indiana Jones, who is fallible but not a wimp. […] I can talk all day about Raiders of the Lost Ark, but I must simply conclude that the movie is just plain fun” — Jerry, armchaircinema

George Lucas and Steven Spielberg teamed up for the first time here, recycled elements from movies beloved in their youth, and produced something new and exciting that is still a reference point for blockbusters 35 years later. (We’re getting homages to homages now, aren’t we? Weird.) It’s pretty much a perfect adventure movie: relentlessly paced, packed with action, lightened with humour, full of likeable heroes, who are brave and competent but also a little bit flawed, and hissable villains, with scene after scene of imaginative situations and fabulously staged derring-do. It’s perfectly distilled pulp adventure, and pure cinematic entertainment.


Many Bothans… died to bring us #73.
The franchise that can never make up its mind about what each instalment’s called continues with its most outrageously ludicrous entry yet.
Despite that, the series is beginning to feel increasingly “fans only”. That’s the way of all things these days, I suppose. Long gone are the days when movie series aimed at accessibility, each entry fundamentally a standalone adventure for a popular hero. Serialisation is the new discreteness, and it pays dividends for Marvel and, indeed, for Fast & Furious: in the same year as
while we’ve seen computers being used to generate a performance for a deceased actor for over 15 years now (I believe
But hey, what does it matter? The point is the big dumb fun of the action sequences, be they well-choreographed and -shot fisticuffs, excellent stunt driving, or computer-generated ridiculousness. Is it okay to just give a movie’s plot a free pass like that? Sometimes, I think it is. Furious 7 is an action movie, in a fairly pure sense of the term, and action it delivers.
In this lesser sequel to 

Hailee Steinfeld stars as a teenage girl raised from childhood by a top-secret government organisation to be an expert agent, but who has always longed for a more normal experience. When the organisation thinks she’s died on a mission, she uses it as a chance to have that normal life. Researching the high school experience from teen movies, she heads off to a typical US high school… and finds life isn’t quite like the movies. Though it is a bit, but it’s allowed to be so long as you keep referencing the movies you’re riffing off… right? Oh, and of course her old life keeps intruding, in the form of people wanting to kill her ‘n’ all that.
then I think there’s a fair chance you’d find it to be a frequently amusing, occasionally very funny, and sometimes quite sweet high school comedy — with added doses of action comedy for good measure. There’s even one great scene (which is more than many a “very good” film can claim); the kind of scene that, when it happens, is so right it feels like kind of an obvious idea, but I’ve never seen it done before (it kinda requires a premise like this to even work) and is pretty faultlessly executed.
Letting the Side Down
For his most recent historical epic, Ridley Scott tackles the story of Moses. It’s easy to nitpick, depending on your proclivities: whitewashed cast; lack of adherence to the Bible; Ridley’s typically flexible attitude to historiography; it was even banned in Egypt for the negative depiction of both rulers and slaves.
12-year-old Peter (Levi Miller) lives in an orphanage in World War 2 London… until the night pirates bungee in through the ceiling and kidnap a bunch of boys onto their flying galleon. Yes, really. From there it’s second star to the right and straight on ’til morning as the pirates take their new charges to Neverland, where they’re forced into the
As said boy, Levi Miller manages to make Peter not intensely irritating, which is an achievement compared to other adaptations. Some of that is surely inherited from the writing and directing, but Miller gives a strong performance too. Hugh Jackman hams it up magnificently as Blackbeard, clearly having a riot. Rooney Mara may be miscast due to the colour of her skin (for all the complaints about whitewashing, her tribe is shown to be mixed race… which doesn’t necessarily excuse it), but her actual performance is very good. I felt like Garrett Hedlund was doing an impersonation of someone but I never quite got a handle on who (the character’s definitely written to be Han Solo, but the actor’s not copying Harrison Ford). Adele Akhtar brings comedy as Hook’s chum, Sam ‘Smee’ Smiegel, there are cameos of varying purpose from Amanda Seyfried and Kathy Burke, and Nonso Anozie is always a welcome presence, here playing Blackbeard’s henchman. Cara Delevingne doesn’t act so much as provide a human reference for the CGI.
Having found Pan to be a very likeable fantasy adventure, I confess to being slightly confused by the response that saw it soundly trounced by most critics and viewers. The
or Disney’s, aside from my aforementioned aversion to the eponymous hero), so I was perhaps more open to this Epic Fantasy reimagining. (In that last respect, it definitely falls into the same bracket as
Neill Blomkamp seems to be on M. Night Shyamalan’s career path: a massively-praised Oscar-nominated breakthrough genre movie, followed by a series of increasingly maligned follow-ups.
How the mighty have fallen. The great Michael Mann, who once helmed genre-defining crime movies with expertly-directed sequences, here delivers a movie that looks like an amateur cheapie by a film student who’s watched too many Paul Greengrass movies without learning anything meaningful from them.