PHENOMENALITY: *marvelous*
MYTHICITY: *good*
FRYEAN MYTHOS: *adventure*
CAMPBELLIAN FUNCTIONS: *metaphysical, psychological, sociological*
According to a George Lucas reminiscence in Chris Taylor’s
HOW STAR WARS CONQUERED THE UNIVERSE, Indiana Jones came into being partly
because Eon Pictures, who controlled the James Bond franchise, refused to let
Lucas helm an entry in the adventures of the famed superspy. Yet it’s hard to
see any connections between Lucas’s hero—whom I’ll call “Indy” henceforth—and the
Bond of the movies, aside from their mutual propensities for globetrotting.
Comparisons between Indy and the world-weary Bond of Ian
Fleming’s books might be more appropriate; there’s a lot more sense that both
characters have lived hard, danger-filled lives that may have cost them any
shot at a normal existence. The first closeup of Indy (Harrison Ford) in his
debut film catches the hero showing the world a grim, forbidding face. Admittedly,
he’s just foiled another man’s attempt to take Indy’s life for the sake of treasure.
But the appearances of movie-Bond boast nearly no scenes like this, except for ONHER MAJESTY’S SECRET SERVICE, which was the closest adaptation of an
ennui-filled Ian Fleming original. The opening RAIDERS sequence establishes
Indy’s fortitude and daring, as he successfully braves an ancient Indian temple
filled with traps set by long-dead men—but then the hero loses his prize to his
smooth-talking rival Belloq (Paul Freeman). Both hero and villain are in
essence thieves, but Indy is admirable for his courage in taking on the
challenge of the temple, while Belloq uses smooth talk (and arguably, better
preparation) to achieve their common end of raiding archaic treasures for the
enrichment of modern museums.
Nor do you find this sort of world-weariness in the
kid-oriented serials to which RAIDERS OF THE LOST ARK pays homage. As much as
Lucas and the first Indy-director Steven Spielberg may have loved old
chapterplays like LOST CITY OF THE JUNGLE— or even B-westerns like those of the
whip-wielding cowpoke Lash Larue—Indy’s character seems drawn from the heroes
of A-level Hollywood adventure-films. When Indy remarks to his considerably younger
paramour that “it’s not the years, honey, it’s the mileage,” he seems to be channeling
Bogart—but it’s a Bogart who can perform prodigies of athleticism worthy of Errol
Flynn or Douglas Fairbanks Sr. Some of this character may have been formed by Lucas’s
credited co-author Philip Kaufman, or from Lawrence Kashdan, who wrote the
screenplay. Yet Lucas probably had the principal idea of mining any and all
adventure-films from Hollywood’s heyday—which makes Lucas something of a “raider
of lost art,” to repeat a pun that others have made before me.
Although some modern audiences would frown upon Indy’s theft
in the service of archaeological science, the film doesn’t really interrogate
these matters closely. When we first see Indy in his “Clark Kent” academic guise—teaching
a boring archaeology class while the girl students moon over the sophisticated
older man—he seems quite content with his avocation as a relic-hunting adventurer.
Then a crack appears when he confers with members of the State Department. Indy’s
told that the Nazis are in Egypt, looking for the legendary Lost Ark of the
Covenant. The government guys, unlike the hero, seem to seriously countenance the
idea that the artifact might be used as a weapon by Adolf Hitler, and they want
to Indy to find the Ark first. But to get a line on this particular part of ancient
history, Indy has to face up to a dark part of his own history, for the only
relic that can lead the hero to the Ark is in the possession of two people from
whom he’s estranged: his former mentor (and father-figure?) Abner Ravenwood and
Abner’s daughter Marion.
(Side-note: Campbell Black’s paperback novelization of an
early RAIDERS script contains the nugget that Teacher Jones isn’t just getting adoring
looks from girl students; he’s actively getting some action from at least one
of them. I don’t know if this should be read as a backhanded compliment to
Marion.)
Anyway, Indy journeys to Nepal to find the Ravenwoods, only
to learn that Abner died there, leaving Marion (Karen Allen) with nothing but a
beat-up tavern as her stock in trade. The source of the estrangement between the
hero and the Ravenwoods seems to have been Indy’s affair with Marion, who by
her account may have been underage, though the late Abner’s opinion of the
matter is not spelled out. Marion, still in love with Indy despite her hostility,
puts him off—but she can’t put off the Nazi goons who come looking for the relic
with the Ark’s location. The role of the Nazi agent Toht (Ronald Lacey) is nothing
less than a love letter to the career of Peter Lorre (well known for his cinematic
interactions with Humphrey Bogart, by the bye). Still, the main purpose of the Nepal
adventure is to forge new ties between Indy and Marion—even if they are based
on financial remuneration, after Indy’s battle with the Nazis and their stooges
results in the tavern’s destruction.
The couple arrives in Cairo with the relic. Marion seems
totally on board with Indy’s plan to find the Ark, though she never makes any
express comments on the hero’s mission: to somehow find the sacred Ark in the
Nazis’ archaeological dig before the Nazis themselves can. More importantly, Marion’s
animus toward Indy vanishes. She baits him a little, but the bitterness is gone,
and it’s plain that they’ve both falling in love again. However, the heroine finds
herself getting into overly deep waters with another attack by Nazi henchmen,
who have been sent after Indy by their collaborator Belloq. Marion appears to
be slain in a fiery explosion—and though I doubt many audience members thought
her sincerely dead, Indy is forced to mourn his loss of something more valuable
than any museum acquisition.
To make matters worse, Indy’s enemy Belloq shows up to mock
him, claiming that the two of them are both lapsed followers of the archaeological
“faith,” and that Belloq himself is a “shadowy reflection” of the hero, as indeed
all the best villains tend to be. The conversation takes an extra note of sadism
when one realizes that by this time Belloq must know that Marion is not dead,
because she’s been taken back to the dig-site. The Nazi’s motivation for doing
this is never very clear. In any case, the Nazis in Cairo somehow lose track of
Indy, who sneaks into the camp with the correct info, hijacks some diggers to
uncover the Ark’s real resting-place, and, incidentally, stumbles across
Marion, alive but captive.
It’s no doubt a supreme test of Marion’s patience that Indy
puts her rescue on hold to go after the Ark—which action might make more sense
if the hero actually believed that the Ark had supernatural powers that might
help the Third Reich win the war. To be sure, when Belloq interviews the
captive heroine, he indicates that he’s trying to get information out of her—but
at the time of the attack in Cairo, Belloq probably would have believed he had
all the info he needed. He might have been sincerely trying to kill Indy in the
Cairo attack, just to get him out of the way—but then, with Marion captive, why
not use her to bait a trap for the hero? Was his original motivation just the
desire to “take” away something from Jones, since he also sets up a possible
seduction?
None of these quibbles take away from the film’s undeniable
mastery of kinetic thrills and chills, which are far more important to this
film than niggling continuity. Yet it’s arguable that even though Lucas et al
have Indy betray Marion for the sake of the Ark, he does re-evaluate his
priorities later on: seeking to protect her more than a relic of ancient history.
Indy fails to liberate Marion, but it seems that all the warnings he’d received
about the Ark’s baleful powers finally sink in. When Belloq attempts to summon
forth the power of the Ark with a Jewish ritual, Indy keeps his eyes shut and
advises Marion to do the same—which saves them both from the destruction
wrought upon Belloq and the Nazis by the Ark, much as Lot saved himself by not
beholding the devastation of Sodom. The couple’s bonding through Nazi-fighting
then sets up the closure of their romantic arc at film’s end.
Though I believe that the main symbolic thread here is
psychological—that of a world-weary man putting aside the lure of adventure for
at least some romantic attachments—I also think RAIDERS has some strong metaphysical
content. When I first saw the “death angels” that come forth from the Ark at
the climax, I thought Spielberg, being of Jewish extraction, might have playing
with the traditional idea of the mystic Shekinah. Now I think that’s a little
ambitious. Still, when the Ark’s power manifests in a fiery “pillar of cloud,” that
image is almost certainly derived from the narrative of the Jews’ exodus from
Egypt. Even in my first viewing I thought it odd that the Nazis, the enemies of
Jewry, would have thought they could call on an Israelite relic’s power with
impunity, though I suppose the base idea might’ve been the real-life Nazi notion
that all the great occult discoveries stemmed from Aryan ancestors.
Arguably, the aforesaid James Bond model does rear its head
in the next three Indiana Jones films, one of which asserts that the
Indy-Marion romance of the first film did not have a happy ending. Perhaps
Lucas wanted his hero to have more latitude in his sexual conquests, though if
so, Lucas never succeeded in making audiences think of Indiana Jones as a major
lady-killer. Still, taken by itself, RAIDERS OF THE LOST ARK stands as the
premiere salute of the “movie brats” to the adventure and romance of Classic
Hollywood.
It's interesting, given your Bond comparison, that one of Timothy Dalton's Bond movies essentially swiped the stunt where Indy crawls over the bonnet (hood) of a truck in Raiders. The Bond films were pretty tired by this time, though they perked up when Brosnan came aboard.
ReplyDeleteThanks for the comment. I started to see more Bond-isms in INDIANA JONES AND THE LAST CRUSADE and less of the Old Hollywood salutes. Not sure if INDIANA AND THE REFRIGERATOR OF DOOM aligns with either of those groupings...
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