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Set in 1935, a professor, archaeologist, and legendary hero by the name of Indiana Jones is back in action in his newest adventure. But this time he teams up with a night club singer named Wilhelmina "Willie" Scott and a twelve-year-old boy named Short Round. They end up in an Indian small distressed village, where the people believe that evil spirits have taken all their children away after a sacred precious stone was stolen! They also discovered the great mysterious terror surrounding a booby-trapped temple known as the Temple of Doom! Thuggee is beginning to attempt to rise once more, believing that with the power of all five Sankara stones they can rule the world! Now, it's all up to Indiana to put an end to the Thuggee campaign, rescue the lost children, win the girl and conquer the Temple of Doom. Written by
Anthony Pereyra <firstname.lastname@example.org>
During film production the movie was starting to go over budget and Spielberg went to the writers (Willard Huyck and Gloria Katz) and asked them to make changes to the script in order to save money. They removed one page from the script and saved a million dollars. It was a planned air chase scene using vintage biplanes. The scene was removed from the movie but was later incorporated into Indiana Jones and the Last Crusade (1989). See more »
During the final shot of the rickshaw crashing , a third wheel in the rear of the rickshaw is visible, which allowed it to be ridden with its "nose up" for the scene. See more »
In the opening credits Philip Stone's first name is misspelled "Phillip". Similarly, in the closing credits Roshan Seth's first name is misspelled "Rushan". Both these spelling mistakes are corrected in the DVD release. See more »
An entertaining experience, but unable to match the sheer brilliance of the original.
Indiana Jones and the Temple of Doom is the second of the Indy films from director Steven Spielberg, though chronologically it is actually the first. This prequel to Raiders of the Lost Ark tries to out-do its predecessor for breakneck spills and gross-out moments, but the sparkle isn't quite there. It's an entertaining film for sure, but not as good as the original, partially because the plotting this time round is a little awkward and partially because Kate Capshaw as the main female character is an almighty irritation.
The film opens in a Shanghai restaurant, where Indiana Jones (Harrison Ford) causes a riot in pursuit of a diamond. Fleeing the scene with American singer Willie Scott (Kate Capshaw) and teenaged pick-pocket Short Round (Ke Huy Quan), he escapes to the airport. However, Indy and his companions unwittingly board an airplane owned by one of Indy's enemies, from which they have to make an audacious mid-air escape when the real pilots bail out mid-flight! Soon, the intrepid trio find themselves in India, where they come across a village in the grip of starvation. The village children have been kidnapped by local cultists to work in a mine, digging for the sacred Sankara Stones, and Indy is persuaded by the distraught villagers to rescue their youngsters. His quest takes him to the opulent Pankot Palace and, beneath it and beyond a maze of tunnels, the Temple of Doom.
Ford is great as Jones, bringing genuine charisma to a role that he was born to play (can you imagine how things would have turned out if Tom Selleck had got the part, as originally planned?) There are some great moments along the way too, including the intentionally subversive opening sequence in Shanghai, a particularly funny and exciting runaway mine-train sequence, and an unforgettable banquet at Pankot Palace in which the food served up is enough to churn any stomach. But Indiana Jones and the Temple of Doom still can't live up to the standard set by Raiders of the Lost Ark. As mentioned, Capshaw is a real pain on the senses as the always-squealing heroine, and the plot seems to over-stretch in an effort to link to the next development or set piece. The hunt-for-the-missing-children plot device allows Spielberg to dip into the kind of cloying sentimentality that occasionally mars his films too. This is certainly an entertaining and professionally assembled film, but in no way a rival or an equal to the excellence of its predecessor.
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