The inspiration for Indy,as everybody knows,was the Saturday-morning serial of yesteryear like LOST CITY OF THE JUNGLE, CONGO BILL etc.,that I watched as a boy during the Forties while Indy himself is a handy if improbable amalgam of two archetypes - the action-hero and the old professor. I tended to find the Spielberg versions more exhausting than satisfactory -like having to watch a whole 13 episodes all in one go with no breaks - and while dynamic and amusing and certainly never boring they were somewhat charmless with their constant insistence on grue. Until THE LAST CRUSADE, my favourite,with a more compelling storyline and a massive boost in human interest - warm, witty, even poignant - via the sublime double-act of Ford and Connery. For me the most affecting moment in this belated follow-up was seeing the photos of Connery and the late Denholm Elliott, two old sidekicks from the past now officially deceased. They're sadly missed here.
Ford at 65 keeps his end up superbly well. A pity that the structure he supports should prove so ramshackle and his new associates such a limp bunch. Ray Winstone comes across like a chained bear whose teeth have been removed. He seems dazed and directionless, mechanically changing sides to keep the plot moving. John Hurt gets lots of close-ups but little to sustain them while Indy's putative successor makes so little impression I could hardly remember what he looked like. I did enjoy the long chase through the jungle and Cate Blanchett cuts a cool and eye-catching figure. But the gradual move into alien-visitor territory after quite a robust beginning makes for windy anti-climax. SMALLVILLE on TV has somewhat cornered the market in recent years in terms of continuous cavernous cryptic cosmic jigsaw-puzzles -with engaging characters and a solid back-story - so any similar activity here seems decidedly second-hand. And this referring to Marion as Mary early on so that Indy won't get the connection - unless there's a subtlety that I'm missing - is the sloppiest writing-ploy since Van Heflin sent a love-letter to the wrong sister by mistake in GREEN DOLPHIN STREET many aeons ago. Indy finally makes an honest woman of his old squeeze with the guests applauding madly and grinning like monkeys. It all feels strained and somewhat grim like a forced retirement though no doubt the old legend could do with the rest. I think after this outing we all could.
Ford at 65 keeps his end up superbly well. A pity that the structure he supports should prove so ramshackle and his new associates such a limp bunch. Ray Winstone comes across like a chained bear whose teeth have been removed. He seems dazed and directionless, mechanically changing sides to keep the plot moving. John Hurt gets lots of close-ups but little to sustain them while Indy's putative successor makes so little impression I could hardly remember what he looked like. I did enjoy the long chase through the jungle and Cate Blanchett cuts a cool and eye-catching figure. But the gradual move into alien-visitor territory after quite a robust beginning makes for windy anti-climax. SMALLVILLE on TV has somewhat cornered the market in recent years in terms of continuous cavernous cryptic cosmic jigsaw-puzzles -with engaging characters and a solid back-story - so any similar activity here seems decidedly second-hand. And this referring to Marion as Mary early on so that Indy won't get the connection - unless there's a subtlety that I'm missing - is the sloppiest writing-ploy since Van Heflin sent a love-letter to the wrong sister by mistake in GREEN DOLPHIN STREET many aeons ago. Indy finally makes an honest woman of his old squeeze with the guests applauding madly and grinning like monkeys. It all feels strained and somewhat grim like a forced retirement though no doubt the old legend could do with the rest. I think after this outing we all could.