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    ‘Indiana Jones and the Dial of Destiny,’ Harrison Ford’s search of lost time

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    Indiana Jones (Harrison Ford) and Teddy (Ethann Isidore) in

    OFFICIAL SELECTION – NOT IN COMPETITION

    Harrison Ford received an honorary Palme d’Or and prolonged applause at the Grand Théâtre Lumière, which was at full capacity on Thursday, May 19 at 7 pm. It was the world premiere of Indiana Jones and the Dial of Destiny, which will be released at the end of June. The fifth movie of the franchise inaugurated in 1981 is also the first to be neither directed by Steven Spielberg nor co-written by George Lucas. The two old comrades who made a new Hollywood that is now becoming history had their expensive fun with the franchise, when they weren’t busy with Star Wars and ANDand more.

    Spielberg’s departure from directing and Lucas’ own exit since the purchase of Lucas Films by Disney, in addition to Ford’s age, mean this will undoubtedly be the ultimate salvo in the Indiana Jones story. The page has been turned on what the adventurous legend embodied: the spirit of childhood and endless curiosity brought to life in an imaginary soap opera based on 20th-century history.

    This final episode from the previous century’s legend completes the transformation that saw Disney take possession of Hollywood’s lost ark, launch the teenage monoculture of superhero movies and contribute to the impoverishment of American auteur cinema in a way that no Golden Age mogul could have dreamed of.

    James Mangold walks away with honors

    James Mangold – a specialist of swan songs for great American myths (the Western, with 3:10 to Yuma in 2007, the superhero movie, with Logan in 2017, Formula 1 films with Ford v Ferrari in Europe in 2019) was asked to cleanly put the final nail on the coffin of Indiana Jones, a hero clearly too human for the superhero era. At a cost of $300 million dollars (compared to 18 million for the first film), Mangold could have afforded to miss the funeral, but he pulls it off with honors.

    The plot up to now might be worth revisiting. Indiana Jones, imagined by Lucas before he began with Star Wars, is an archeology professor whose taste for adventure leads him to collect artifacts and other magical relics from distant civilizations, against the backdrop of the great wars that marked the first part of the 20th century. The character was matched perfectly with Ford, then a young actor recently propelled into the stratosphere by his role as Han Solo in the first Star Wars in 1977. It was the unexpected success of the “space opera” that prompted Lucas, in collaboration with his friend Spielberg, to develop the Indiana Jones series.

    Read more Article reserved for our subscribers The first time Le Monde wrote Harrison Ford

    It was a success that allowed the tandem to craft sequels around stable narratives: preventing the Nazis from getting their hands on the Ark of the Covenant hidden in Egypt that would give them the secret to victory in Raiders of the Lost Ark in 1981; recovering the precious stone taken from poor Indian villagers by the high priest of a dark sect in The Temple of Doom in 1984; preventing the Nazis, again, from capturing the Holy Grail in Turkey in The Last Crusade in 1989; and trekking in the Peruvian jungle to steal an extraterrestrial skull from the Soviets, in The Kingdom of the Crystal Skull in 2008.

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