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Aside from James Bond and Luke Skywalker, no action hero of the last 50 years has so captivated moviegoers as the intrepid Indiana Jones, whip-cracking adventurer nonpareil. The Indy triumvirate -- Raiders of the Lost Ark (1981),...
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Aside from James Bond and Luke Skywalker, no action hero of the last 50 years has so captivated moviegoers as the intrepid Indiana Jones, whip-cracking adventurer nonpareil. The Indy triumvirate -- Raiders of the Lost Ark (1981), Indiana Jones and the Temple of Doom (1984), Indiana Jones and the Last Crusade (1989) -- reflects the felicitous partnership of Hollywood heavyweights Steven Spielberg, George Lucas, and Harrison Ford. Inspired by cliffhanger movie serials of the '30s and '40s, producer Lucas (who actually created Indy) and director Spielberg introduced their archeologist-cum-soldier of fortune in Raiders, pitting him against Nazis hoping to locate and seize the Biblical Ark of the Covenant -- an artifact of immeasurable value and the reputed source of unlimited power. The initial Indiana Jones film is clearly the best, with superbly staged action sequences occurring at regular intervals to simulate the experience of watching a multi-episode serial in one thrill-crammed sitting. The first sequel, Temple of Doom, not only reflected the influence of cliffhangers but also seemed to have been drawn in part from such classic films as Gunga Din. This time around the villains were East Indian cultists practicing the occult arts and trying to sacrifice Indy's reluctant companion, a voluptuous blonde singer played by Kate Capshaw (later Mrs. Spielberg). Last Crusade harked back to Raiders, in that the bad guys were, once again, Nazis looking for a priceless religious artifact, this time the Holy Grail. Lest potential audiences be dissuaded by the similarity of plot, Lucas and Spielberg added a new character to the mix: Indy's archeologist father, portrayed by Sean Connery. The Indiana Jones films hold up splendidly today because they are unpretentious entertainments, made with all the technical virtuosity of latter-day movies but infused with the spirit of earlier Hollywood films that catered to Depression-weary and World War II audiences hungry for escapist fare. Moreover, the Jones trilogy gently pokes fun, without condescension, at the old serials and swashbucklers. The wildly implausible situations and hairbreadth escapes aren't corny, over-the-top sequences grafted onto movies with contemporary sensibilities; they're organic to the films. For sheer, unadulterated fun these movies are impossible to beat, and they promise countless hours of entertainment for those who buy this box set. Ed Hulse, Barnes & Noble
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