Nineteen years after his last cinematic adventure, the one and only Indiana
Jones returns to show everybody else how it’s done in Indiana Jones And The
Kingdom Of The Crystal Skull. A smash hit when it was released in the summer of
2008, Crystal Skull wisely acknowledges the almost twenty year gap in Indy films
(as well as the advancing age of its star) by taking place in 1957, at the
height of the Cold War. The Nazis may now be ancient history--thanks in part to
Indiana Jones, who, we are told, performed his duty during the war by working
for the OSS--but with the end of the Second World War, the Russians have now
become the new threat for Indy, just as for everyone else.
Led by the steely Colonel Doctor Irina Spalko (the wonderful Cate Blanchett), a
cadre of well-armed KGB agents harass Indy and Mutt Williams (Shia La Beouf,
who’s fast becoming the new king of summer popcorn films), a young man who seeks
Indy’s help when his mother and surrogate father, Professor Harold Oxley, are abducted by the
Russians in South America. Oxley was researching the mystery of a crystal
skull--which, once returned to a fabled city in Peru, would unlock its powers.
Just like how Hitler and the Nazis sought occult objects in the 1930s, the
Soviet Union is now seeking every object of power it can get its hands on in
order to wage a psychic war against the United States.
Harrison Ford still shines as Indy, and it’s a great pleasure to have him back.
The era and villains may be different this time out, yet it’s still the same old
Indiana Jones--who may be older, but who’s still just making it up as he goes as
he continues to fight the good fight. Yet even Indy isn’t safe from overly
suspicious FBI agents, who suspect him of working with the Russians--despite the
fact that he’s been fighting them tooth and nail. This addition of the red scare
of the 1950s is a nice touch (I especially loved the ironic chase scene between
Indy and a group of KGB agents amidst an anti-communist rally), as it brings up
the notion that paranoia is timeless and pervasive in all eras.
But the Crystal Skull is primarily a fun, popcorn ride--and in that regard, it
does not disappoint. The addition of Mutt Williams serves as a handy way of
introducing younger audiences to the dashing archeologist, while also filling in
a fascinating back-story that brings back Karen Allen as Marion Ravenwood, Indy’s
first love from Raiders. Allen is still as spunky as ever as Marion, and a
welcome sight for Indy fans. The action sequences are exciting and well done,
and the final confrontation is as imaginative as ever. There are also nice
little nods to Marcus Brody, and Indy’s father--not to mention the big event in
the final scene of the film--that makes this movie a must see for Indy fans. If
this turns out to be the last film in the Indy series (and I hope it isn't), it's
certainly the most satisfying of the bunch, aside from Raiders.
--SF
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