I just saw Indiana Jones and the Kingdom of the Crystal Skull, and this blog entry
constitutes a ridiculously long description and critique of the movie, at a level of detail
you almost certainly don't want if you intend to see the movie. In fact what follows is a
level of detail probably no one wants, but I have been boring people with scene-by-scene
recitations of movies since I was four years old, so I see no reason to stop now. But you,
really: stop reading now if you do not want the movie spoiled for you. There will be another
blog entry in a day or two.
The very first image on the screen (not counting movie trivia, ads, previews, and a
warning to turn off my cellphone) was a dissolve from the Paramount mountain logo into a
gopher mound, with a distractingly unrealistic gopher bursting through the soil. Do they
even have gophers in New Mexico? Unfortunately, distractingly unrealistic is a phrase
that applies to a lot of the movie, and do realize this is coming from someone who loves
Indiana Jones movies and desperately wants to suspend disbelief for an hour and a half. It
just seems as if a lot of the effects and sets were rushed, or not carefully evaluated for
impact.
The gopher runs away as his mound is hit by (I warned you this would be
detailed) the wheel of a convertible roadster full of 1950s teenagers. In case you
missed the period costumes and make-up, Elvis' You Ain't Nothing But A Hound Dog
plays on the soundtrack. The roadster cuts across the desert and then meets a road where it
weaves through a military convoy of troop transport trucks led by a staff car. We see some
armed soldiers look at the kids briefly and disinterestedly. I thought that was
unrealistic for American soldiers, who should have at least grinned at the pretty girls, but
with the tone set by the gopher, I missed the foreshadowing.
The teenagers try to persuade the driver of the staff car to race with them, and for a
while the staff car speeds away from the trucks. I figured it was a ruse to lure the car
away from the troops in order to capture some military secret or individual, so that was fun
and exciting, but that doesn't happen. The teenagers continue on the road to the "Atomic
Cafe" ; they were just there to set the era, because otherwise a military convoy is
timeless. An overlay title proclaims it 1957, while the convoy turns in to stop at the
checkpoint gate of a military facility. The guards there salute and apologize to the colonel
who steps out of the convoy, but explain that the entire facility is off limits to all
personnel today, for nuclear testing. Suddenly the colonel ducks down, and from behind him
soldiers gun down all the checkpoint guards. Next, they open the trunk of the staff car and
throw a couple of bodies on the ground, with a fedora hat. One of the 'bodies' picks up the
fedora and --cue the classic music-- we see him put it on as a shadow on the side of the
car. For a moment we revel in the familiar and famous silhouette, then the focus shifts and
we see Harrison Ford reprising the character in his sixties. It was a very nice way to say
that Indy's got a few years on him, but he's still the same guy. I think that last bit was
in the trailer.
The other body is also alive. He's your standard slightly overweight sidekick, reminds me
of dependable Sollah from Raiders. And the ruthless soldiers are Russians who say they found
Indy and his companion searching for antiquities in Mexico. The Russian army, and
specifically Irina Spalko (standard issue, ramrod straight, smart brunette Russian operative
boss chick) wants Indiana to find them a box in a military warehouse. There's also a tall
expressionless tough guy and a lot of interchangeable soldiers who yell «Ð´Ð°Ð²Ð°Ð¹» a lot.
The warehouse looks a lot like my local lumberyard/hardware store and just like the
warehouse from the end of Raiders of the Lost Ark, a massive high-ceilinged space
containing row after row of high stacked wooden boxes. The commies aren't after the ark,
though. They want a mummy they say Indy found. Under threat of death, he cooperates,
disassembling bullets and shotgun shells and using McGyveresque techniques to find the
highly magnetized items. This is the standard opening scene of an Indiana Jones movie, so
you know they find the prized artifact, introduce the characters and then Indy loses the
prize to his adversary. We don't actually get to see exactly what they've taken. It's just
something alien-looking inside what might be a mylar bag inside the presumably magnetized
sarcophagus. During the ensuing chase/fight scene one of the vehicles smashes open a crate
and only the viewers get to glimpse what is inside: the Ark from the first movie. Perfect.
Indy escapes with his life, despite the fact that his companion turns traitor, and runs out
into the picturesque desert, towards a settlement.
When he gets there it's all candy colours, an over-the-top set piece of 1950s homes,
yards, furniture, decor, brand name products and the TV show playing in the background. In
fact, even the people are plastic. Literally. I guess some folks younger than me needed the
subsequent announcement of the imminent bomb drop to tell them that this is a model town set
up for the sole purpose of researching the effects of nuclear weapons on civilian areas.
Indy doesn't. He can't get a ride out of there with the Russians, so he crawls into a
lead-lined refrigerator and shuts the door. It's the old-fashioned kind of refrigerator, of
course, the kind that can only be opened from the outside. (When I was a kid the dire
warnings to never play in a refrigerator were still around, but those lever-lock
refrigerators weren't. I always wondered what kind of idiot couldn't push the door open
again). I guess Indy hadn't received those warnings, or he prefers slow suffocation to
instant nuclear immolation. The bomb drops, all the happy innocent 1950s kitch is turned to
ash, and the refrigerator is blown clear of the ersatz subdivision. Duck and cover,
indeed.
Next scene does not address his escape from either the refrigerator or the fall within,
but has Jones being scrubbed and showered by radiation-suited men, and then grilled by
suspicious communist-hunters. He is under suspicion for his long association with the
sidekick character (no, he wasn't interesting enough for me to bother learning or looking up
his name). They fill in the back story of what Dr. Jones has been doing all these years. He
was a war hero of course, but his interrogators have war records too, and this is the
McCarthy era, so everything about him is suspect. He finally gets someone to vouch for him
and goes free, but then we see him back teaching at his old school, his class being
interrupted by the Dean, with orders for him to take a leave of absence. He is still a
suspected communist.
It's the first time I've seen a movie that wasn't specifically about the McCarthy
witch hunts deal with the suspicion that fell on academics in that time. It was ironically
similar to what the communists themselves did, killing off the intelligentsia. Neither
regime wanted people who thought for themselves and communicated their thoughts
clearly.
Jones is on his way out of town when a motorcycle-riding teen named Mud chases his train
along the platform to deliver a message. The message is that the kid's mother and stepfather
have disappeared and there's a coded letter in an ancient language for Indy to solve. The
kid seems like someone who is trying to cultivate the image of a bad boy--and he's obsessed
with image, doing his hair at the most inopportune moments, throughout the movie--but he
hasn't actually got involved in anything bad. He has followed mommy and daddy's instructions
to find Professor Jones and hands over the letter. Almost immediately the Russian bad guys
reappear, so Mud starts a soda shoppe (he's too young for bars) fight and in the ensuing
confusion he and Indy can escape on Mud's anachronistic (it's a modern model with retro
styling instead of being authentic to the era) motorcycle. They use Indy's knowledge of the
university campus to go through narrow archways and elude their car-driving pursuers, who
for some reason aren't clever enough to regroup and find Indy and Mud back in Indy's study.
There, Indy pulls out a couple of books, and demonstrates to multiple school dropout Mud the
value of an education by solving the riddle, determining where in the world the next scene
should show red lines across the map. Their transport in what appears to be a Russian
airplane with Pan-American paint: I think the person tasked with producing the travel
graphics got the airplanes mixed up.
Once in Peru they find out that the stepfather went insane, but that he is no longer in
the asylum. The multilingual graffiti on the walls and floor of his cell has the message
"return/go back" and includes a map of a local graveyard where they discover a tomb
containing the well-preserved mummified conquistadores who stole the titular skull in the
first place. And it contains the skull, stashed inside the wrappings of an already opened
mummy. Or something. It's hard to see with all the spiderweb set dressing. It is gigantic,
clear, with clearish stuff inside.
At some point they 'realize' that the scrawled word "return" means "give back" not "go
back." That's kind of silly because they made a point of it being in multiple languages, and
that would have resolved the English ambiguity of give back vs. go back. The same double
meaning isn't going to exist across languages. But now they are going to give the skull back
to where it came from, the City of Gold, elsewhere in Peru.
Of course as soon as they emerge from the cemetery they are captured by the Russians
again. The Russians take them more or less where they were going anyway, where they have a
jungle camp. They not only have Indy and Mud as prisoners, but Mud's mother, who turns out
to be Marion Ravenwood, the female lead from the first movie, Ox, Mud's now insane
stepfather, and sidekick traitor guy. One big happy family. The evil Russian lady makes Indy
look into the eyes of the crystal skull, the same thing that drove Ox mad. It's not just an
ordinary skull of course, it's a plotomagnetic (attracts anything metal, including gold, but
only when it's convenient to the plot) big headed alien skull. Indy goes all droopy
after a while of staring, so they let him stop, at which point there is a lot of punching
and everyone escapes into the jungle and Indy and Marion get stuck in quicksand. The Indy
and Marion bickering is just like the first movie, and it's great to see a female lead who
has been allowed to age like a real person. Just before they drown, Marion reveals what all
but the densest audience members have already figured out: Mud is Indy's kid. His real name
is Henry Jones III. Mud returns and rescues them using a snake (why did it have to be
snakes?) as a rope, but it's all in vain because Indy send Ox for "help" and so he went and
got the Nazis, I mean Commies. That entire sequence, well except for the snake, was
completely predicable.
Eventually they have another go at escaping, this one in a goes-on-way-too-long jungle
car chase extravaganza, with more distractingly unrealistic effects. It would have been
better to have the Russian tank-cars just racing along a realistic forest track than it was
to have them racing along a forest track impossibly close to the edge of a dizzying
precipice above a roaring river. In the first movie I was actually worried about the
proximity of the cliff to the tracks of the vehicles, but this one was so overdone it took
away from the excitement of the chase instead of adding. When junior gets separated from the
party after an intervehicle epee battle and then sees a monkey in a tree, that's fine. But
then when he rejoins the party by swinging on vines like Tarzan, there was a distractingly
unrealistic quantity of CGI monkeys all joining in. When you ask the question "why?" about
an effect it is suspect, and when the only answer is "George Lucas likes animals" or
"because we can," it doesn't belong. And I liked all the weird alien animals in the Star
Wars remakes.
Just when you thought the car chase is over because they've all smashed into things and
can't drive any more, there's an attack of giant killer ants and we all have to run away
from the ants. The skull (which has been back and forth between parties like a ping pong
ball) repels the killer ants, so only a couple of the bad guys get eaten alive and the good
guys escape. There's more punching, I think, too. Marion then drives an amphibious vehicle
over a cliff far too high to be driving over, but she cleverly gets the car-boat caught in a
tree, which slowly falls over and lowers the boat perfectly to the water. Good classic
moment. I wanted to see more instances where old age and guile trump youth and strength.
Meanwhile mad-Ox is going on about three drops, but the party, despite the fact that they
are floating down a river, doesn't figure out what these drops are until after they go over
the first waterfall and are about to go over the second. I was finding this a little dense
of them, but then it got really stupid when they did nothing with the information and just
pile over the third, impossibly high rock-strewn waterfall destroying their vehicle but with
no personal injury. The first waterfall was funny, but after that they should have used
brains rather than movie invincibility to escape.
Next they go inside the veil of the waterfall, and did I mention that sidekick traitor
guy has now joined their party and they don't seem to care? He is dropping little flashing
homing beacons to leave a trail of breadcrumbs for Irina, in case she can't follow the
railroad plot otherwise. The chase leads through an ancient temple, filled with the
requisite naked blowpipe-wielding natives (Indy's party dispels them by uncovering the magic
skull while Team Soviet just shoots them all), mystic frescoes and advanced primitive trap
technology.
Eventually they reach the top of the appropriate sacred mountain/temple/obelisk thing,
but there is no city of gold there, just a big wheel-shaped thing with an obelisk and lots
of face-carved stones at the hub. Moment of disappointment, especially from traitor guy.
They then discover that if they bash the face-shaped stones out of the hub, sand pours out
of the hole. At first I thought this was gold dust, so wondered why they weren't collecting
it, and thought it was a somewhat lame treasure, anyway. I also thought Indy was lifting his
rock to bash traitor guy over the head so he'd stop following them, but he was just knocking
the faces out of the obelisk pedestal. See the sand is not gold but actually a
counterweight; like so many of the primitive mechanisms Indy discovers, it's a delicately
balanced machine. Once enough of the sand has poured out, the obelisk sinks down and the
spokes of the wheel are raised up to make a larger obelisk. Then the floor drops out from
under them, and they are on a spiral staircase going down, but they can't run fast enough so
they all fall down to their deaths. No wait, there is water at the bottom and apparently
they all can survive anything as long as they land in water, so they're fine.
They're now on the set from National Treasure, with antiquities from every era and area
all in one big jumbled room. Saves the set decoration people from having to do any research
or special construction. Plus there's another mystic door to open, but this one is keyed
biometrically to the magnetic skull. Airport security of the ancients. Inside the chamber
are the skeletons and skulls of twelve aliens and the headless skeleton of a thirteenth.
They place the skull on the headless one, and it raises its head to begin the special
effects extravaganza. Lets see ... the walls rearrange, all the aliens merge into one alien,
Irina (well of course she turns up) demands payment for the return of the skull,
specifically "all knowledge." Predictably, her head explodes when she gets it.
Meanwhile our heroes escape, once again courtesy of vast amounts of water. (Oh by the way
they are always dry immediately after getting out of the water). They stand on top of the
mountain and watch the surrounding countryside become a whirlpool of CGI, and then a
traditional flying saucer emerges. It flies away into another dimension, because these
aren't space aliens, they're interdimensional hive mind beings.
So lets see, the bad guy has a supernatural comeuppance, the good guys have found the
artifact but been forced to relinquish it for the greater good, and then they all go home to
live happily ever after. Indy actually marries Marion, which is about time, as considering
the backstory from the first movie, he first seduced her as an underaged child. A magical
gust of wind opens the church door at the end of the service and Indy's fedora blows into
the aisle. Mud picks it up and is about to put it on, but Indy takes it smoothly out of his
hand and puts it on himself as he escorts his new bride out of the church. "Not yet," he
says, or something of the sort. Roll end credits.
So I liked it, but the sets or the effects (I can't really tell which is which anymore)
were disappointing. I don't look at the screen to criticize the set. I'm happy to take it at
face value, but as they entered the graveyard it reminded me of the tin man set from the
Wizard of Oz! It's still an Indiana Jones movie, and I'll buy it on DVD, even if just for
the director's commentary, but it wasn't the best ever.