I Freaking Love That Movie
Join us weekly for deep dives into the films we love, filled with charming backstories on our own fandom, the scenes we freaking love, and the nuggets of trivia that fascinate us. This isn't a podcast for quippy cynics, just love for movies and the people who make them. Enjoy some lighthearted banter and a safe environment to FREAKING LOVE any movie!
I Freaking Love That Movie
Indiana Jones and the Raiders of the Lost Ark (1981)
In "Indiana Jones and the Raiders of the Lost Ark," the adventurous archaeologist Dr. Indiana Jones embarks on a perilous quest to locate the biblical Ark of the Covenant before it falls into the hands of the Nazis, who seek its legendary power to ensure their world domination. Joined by his spirited former lover Marion Ravenwood, Indiana faces a series of thrilling and dangerous encounters, from booby-trapped temples and ruthless adversaries to treacherous landscapes, culminating in a climactic confrontation that tests his courage, resourcefulness, and determination to preserve history from the clutches of evil.
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Have you ever wondered how an archaeologist with a bullwhip became an icon? Join us as we rekindle our love for "Indiana Jones and the Raiders of the Lost Ark," reminiscing about everything from childhood Lego adventures to the thrilling quest for the Ark of the Covenant. We'll recount how the fearless Dr. Indiana Jones and the equally resilient Marion Ravenwood captured our imaginations and left us endlessly fascinated by historical and biblical artifacts. This episode is a heartfelt tribute to the timeless allure of Indiana Jones and the indelible mark he's left on our lives.
Listen in as we celebrate Steven Spielberg's cinematic brilliance, especially his masterful use of deep-focus cinematography and his gift for creating unexpected, iconic moments. We'll share behind-the-scenes stories, like Harrison Ford's famous showdown with the swordsman, and delve into George Lucas's pivotal role in bringing Indiana Jones to life. From casting decisions to clever subversions of audience expectations, this chapter is a testament to the creative minds that crafted such an unforgettable adventure.
And what's an Indiana Jones film without the pulse-pounding score by John Williams? We explore the critical impact of his music, pondering how different the film might have felt with another composer at the helm. With comparisons to other potential musical styles, we highlight how Williams' compositions elevate each scene, turning moments of terror into exhilarating adventures.
As we wrap up, we encourage you to visit our website, www.jamr.fun/IFLTM, share your favorite movies, and stay connected with us through email and social media. Let's keep the nostalgia alive and celebrate the movies that bring us joy!
You can find the YouTube video about Spielberg's cinematography style here!
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hello and thank you for joining us for another episode of I freaking love that movie. I'm andrew, joined by my buddy, rob, as we dive into another movie we freaking love. This isn't a podcast for those quippy cynics, just love for movies and the people who make them. This week we're getting away from the nostromo and we're getting back in some fresh air in the great outdoors. Perhaps a little adventure, mr rob, some tea and crumpets? Perhaps?
Speaker 1:probably not, because I'm going to england this time but it wouldn't be an adventure without a little bit of a laura croft style tomb spelunking a bullish whipped boy and giving some nazis the old cane knuckle sandwich. Rob, what am I talking?
Speaker 2:about today In Indiana Jones and the Raiders of the Lost Ark. The adventurous archaeologist Dr Indiana Jones embarks on a perilous quest to locate the biblical Ark of the Covenant before it falls into the hands of the Nazis, who seek its legendary power to ensure their world domination. Joined by his spirited former lover, marion Ravenwood, indiana faces a series of thrilling and dangerous encounters, from booby-trapped temples and ruthless adversaries to treacherous landscapes, culminating in a climactic confrontation that tests his courage, resourcefulness and determination to preserve history from the clutches of evil.
Speaker 1:Whew, wow, that is, wow. That's a summary.
Speaker 2:It sounds like we're going on an adventure Like Bilbo Baggins style.
Speaker 1:So, Rob, I wanted to hit on a couple of some nostalgia here, some points of nostalgia for you in this movie. We're rocking here. We've come back after a couple of sci-fi movies which we know we're all geeking out on, but I want to talk to you about what points of nostalgia or what moments of nostalgia do you have for Indiana Jones.
Speaker 2:One of the things I love about this film is the character of Marion Ravenwood, and I think some of it is that it just reminds me of this era of films. I think about Superman, I think about Alien, and then later on Aliens, and I think about Carrie Fisher's Princess Leia, about, uh, carrie fisher's princess leia. There's all these like kind of gritty female heroes that if they're not the main heroine like like ripley is like sigourney weaver is an alien they're at least on par with their male counterpart. Like indiana jones has marion and she doesn't like take his crap. And the first time they meet each other in this they have this history.
Speaker 2:But it's very clear that Marion doesn't like him and she doesn't buy into the charm. You see him at the school, at the college where he's the professor, and all the little, all the little students are just in love with Harrison Ford because he's so handsome and majestic, but not Marion. Marion is so fed up with him and so she went all the way up into the mountains in this really like dive of a bar to get away from this guy, and then he shows up and she gets sucked up into another one of his crazy adventures. But I just I love this time period and that's what's really nostalgic for me is like these different female heroes getting their due and kind of creating the prototype of like these badass women Marion's and Margo Kidder's Lois Lane and Carrie Fisher's Princess Leia. So I really that's. My nostalgia is just I get these like warm feelings when I see Marion try to. She just clocks Indy in the face when she first meets him Nice, nice, my, my nostalgia a little different.
Speaker 1:It's more about Legos, what as they tend to be. Yeah, I mean, I like how you had this really deep thought about like heroin and other drugs. You had this very deep thought about heroines and and these female leads and I'm like legos um no, because I mean there was. I think it was a little later and in my lego building career, but there was.
Speaker 1:They did this adventurer's set right and they were like it was very much like laura croft meets indiana jones, because it was like it was like egypt tombs but like indie adventure some and indie time frame with like the the old, like 1940s kind of vehicles and stuff and you know. But it had like the pharaohs in the tombs of like Lara Croft and whatnot and not so much an Ark of the Covenant kind of thing, and I don't think I built an Ark of the Covenant for mine when I was doing them.
Speaker 2:So missed out on that one. Yes, are you dangerous?
Speaker 1:But I mean I remember these movies. I mean, obviously I saw these movies long before Lego released those sets, but it was like they came out at the right age for me, those sets, and they came through an age when I kind of like got my interest re-sparked and kind of watching this Cause this was what I know we watched when I was younger and I and I'm sure my eyes were covered during certain scenes um, and I, I like, I remember so long, like knowing of indiana jones, knowing of the, the crack whip, you know the and, um, and and I, I just remember so much about indie and I remember, like the escape on the submarine and the map with the little line and all that you know, but then it wasn't until I was a little bit older and I was starting to do more of my legos and stuff and I rewatched it.
Speaker 1:I really captured like what was going on with the, the movie, and then also at that time, you know, growing up in church, like learning about like the ark and and all the history around the ark the actual ark of the covenant and then been like now finding it and all this stuff there was like there was like this, this other like component to it. You're like you know when they're going to get it. You're like, yeah, you boys are screwed. It is funny, though, because once you're older, the movie does take on this whole like different aspect to you, but then it's still like it instills this sense of like. Archaeology is cool, man, and I want to play archaeology and dig up things and here's.
Speaker 1:The other thing too is it was also the same like the perfect time for stargate, right and the, and then you know, excavating the stargate and the show and the movie and there were so many things that were like gung-ho on archaeology, video games, legos, movies, tv shows, that, and this is the thing like started it all right. This was the core influence behind all of it and that's just what I love from a nostalgia standpoint with it. Was there anything that stood out for you coming back in your rewatch for this? You know, I kind of talked about the things how they were different for me when I watched them when I was older. What about you? What did uh, what? What stood out for you?
Speaker 2:There's, like this, one part of it coming back to it, which is the rating system from the eighties, which is, uh, I think this film came out in 1981. So it's rated pg and so I'm looking at it on disney plus and there's, there's a lot of pg films that like I can show my oldest daughter, uh, like I showed her the original star wars movies, because I I feel like she's old enough to really she can latch on to those and enjoy those. But I started watching this movie and I was like, oh, it's rated pg, that's interesting. And then people get impaled, skewered, decapitated their faces melt off.
Speaker 2:Yeah, and it was funny because when you're watching it on streaming on Disney+, the rating will pop up in the upper left corner and it's like PG and it was for language and I'm like, uh, there's a little bit more than just language in this film, there's a little more happening, okay.
Speaker 1:So the funny thing about disney's plus this rating and the whole rating shenanigans as it is, I don't I had found this when I was doing research for the episode, but but and I'm going to, I'm going to pull this up here. I actually got it from a entertainment website called yard burger, so I want to get credit yeah. I want to get credit to where it's credits do.
Speaker 1:But they actually say in 1981, there was, you know, obviously they'd yet to introduce PG 13 and and rather famously, temple dune is considered to be the progenitor of that rating. But for Raiders it was either going to be a PG or an R, and it almost got an R rating because of the death of the villains with Tot and Bel-Oak. Uh oh yeah, in order to not get the r rating they actually had to obfuscate a lot of belokes violent ending on screen. So that was so. It was kind of like they got, as from my understanding, they got the initial rating and it was going to be like an r, and so they had to cut back or obfuscate some of that. That scene that they did, which kind of makes you wonder like what was the effect? So like what? Because those were already pretty grotesque.
Speaker 2:Where's the R rated like? Where's the? Where's the Spielberg cut?
Speaker 1:I want to see the Spielberg cut right, I mean there's that, but I'm also like wait a minute, if what they showed was only like got it back to.
Speaker 2:PG 13.
Speaker 1:what was in the R yeah, that must have been a pretty grotesque was only back to PG-13. What was in the R yeah, that must have been a pretty good desk ending.
Speaker 2:I like that space, yeah Right, all that being said, indiana Jones is still just plain cool. You got the fedora, you have the whip, the wardrobe, he's got swagger. As I wrote in my notes, it's just exquisite. It's like the 80s action adventure star Harrison Ford. And then I also had taken note of Alfred Molina, who was Doc Ock in the Spider-Man universe, but here he's the guide at the first adventure, which is not really connected, but he's there and he tries to double-cross Indiana Jones. And what happens when one double-crosses Indiana Jones? You die. Yeah, crocodiles.
Speaker 1:You get stabbed.
Speaker 2:You get impaled on a wall Offscreen. Even he just Indiana Jones makes it through this like collapsing temple, and alfred merlina's stabbed face is just right there.
Speaker 1:Um, yeah, I gotta say that opening is one of my favorites, so iconic. I mean everything from the. You know the the testing of the sand, or the the blade of light shooting arrows at him.
Speaker 2:The testing of the sand seems the same way as the idol you know, and the other, uh, interesting part that I noticed now coming back to it, so that like nostalgia factor or, you know, seeing things from a new perspective was, I notice the way that, you know, swivelberg uses the camera and in focus, like a lot of use of deep focus, but also I think he was using the I forget what it's called. It's like diopter or something. It's basically where you split the frame so two things can be in perfect focus at the same time, and I believe he does that, so that Alfred Molina's character and the map which is in Indiana Jones' face are both in this super crisp focus at the same exact time. Um, and I noticed that in the, this opening sequence and it's just like you're right, there's just so, so many great images and sequences within that and and the fact that you don't see indiana jones's face right at the beginning.
Speaker 2:He's kind of like this mysterious figure. Um, until you know, the guys are getting scared, the. The guy pulls out the pistol like he just like cocks the pistol, like he's gonna shoot him, and he turns around and whips his hand and he runs off. And then you're like, oh, it's harrison ford. Um, it's just a, it's just a amazing like first introduction to a character yeah, and I feel like it gets used.
Speaker 1:It gets used a lot now, right, it's so iconic it gets used. I mean, I mean, even even marvel copied it for gardens of the galaxy, you know, and and that's not that I'm saying that that's, uh, the pinnacle of, of homage, but like it's.
Speaker 2:It's funny that, like even that they chose to to use this essentially, essentially the same sequence or the same idea even almost like, uh, the dark knight, when they introduce the joker, it's like you see him from behind with the mask and then they do all this stuff and they don't really introduce him until he makes a move right and then he takes the mask off and you're like, oh my gosh, it it's, it's Heath Ledger. And you're like, oh my gosh, it's Heath Ledger, cause he just very different.
Speaker 1:I thought maybe we could talk a little bit more about the old Spielberg Cause.
Speaker 2:I know you had some notes on him.
Speaker 2:I talked a little bit about the, the diopter and some of the deep focus, but I was recently doing a little bit of research. I found this one video, who was just. It was just a. He was a guy talking about Spielberg, his cinematography, the way that he uses the camera and what he does is he likes to do a lot of work with deep focus. Basically cameras, either it's all about like light control, so how much light you you let in. So if you let a lot of work with deep focus Basically cameras either it's all about like light control, so how much light you you let in. So if you let a lot of light in those films where someone who's in front of the camera and then everything behind them is like really blurred and that's I've heard it called bouquet or bokeh, either way, but basically that's like a shallow depth of field.
Speaker 2:Butielberg, in a lot of his films he doesn't work that way. He constricts the aperture of the camera and the aperture is what lets in light and what. What creates that. Bokeh is the, the more light you let in, um, but he constricts it, which basically means that a lot more of the shot that he's filming is in focus, and so you get to see a lot more of the reactions of the characters that are the extras or the side characters or people who are in the foreground of the shot, who would normally be like super blurry and out of focus or not.
Speaker 2:A lot more stuff in focus. It's like actors have a lot more to work with, but at the same time it also makes it harder because your production design has to be really good and you're blocking, or basically your rehearsal. The rehearsal and the coordination between the production team and the actors has to be top notch because everybody has to be on as soon as that camera starts rolling, especially back in those days because they were shooting on film. So it's like you start rolling and you have to cut.
Speaker 1:It's like you just wasted all that film and it's not like digital now, where we're just like, oh, I took 5 000 photos and it's just digital virtual space, which actually kind of reminds me of one of the funny trivia things that I've heard for many years from the movie about how in Tunisia, when they were filming these scenes in Egypt, that everyone was sick and so the big sword fight scene, with just him shooting the guy instead of fighting it because Harrison Ford was like I don't want to try to do this while I'm sick and have a bunch of cuts.
Speaker 2:Let's just end this right now.
Speaker 1:Let's just end this right now. Let's just have them shoot him. It became a notable moment, and it was kind of one of those one-off things.
Speaker 2:Improvise because everybody's tummies hurt. That's right.
Speaker 1:One other thing I was thinking about talking about Spielberg, because we give Spielberg so much credit for this movie and we should right he was really the one who made it what it was. But the whole concept behind Red Star was actually George Lucas's. Oh yeah, and he was.
Speaker 2:Yeah, he was the one who came up with the idea and I don't think he wrote it, but he you know he does have a writing credit, but I think Lawrence, lawrence Kasdan, was like the head guy, yeah, writer.
Speaker 1:Yeah, yeah, but I knowdan was like the head guy, okay, yeah, writer yeah, yeah, but I know it was like basically his brainchild, but he was too busy doing star wars and so he got his buddy spielberg to do it. And I think, even if I remember correctly, tom selick was the original pick for indiana jones, but they ended up going with harrison ford and said and so tom, harrison Ford inside.
Speaker 2:And so Tom Selleck went off and did Magnum PI Right, he's like Indiana Jones, but a cop, right. So before we moved on, I really wanted to bring up one more scene. We already kind of talked about Indiana Jones shooting the swordsman, the law of expectation of like this guy starts swinging a sword around and you're like, oh my gosh, this fight's gonna be so good. And then Indiana Jones just completely erases the tension by shooting him. And there's another moment a little bit later in the movie where this kind of happens again.
Speaker 2:So Marion is with Belloc and she's like seduced him to the point where she gets her knife and she's like, okay, I'm getting out of here, I'm, I'm gonna make a break for it. And she backs up into, of course, like there's these three nazis standing right behind her with toke, toke, toke, toke, toke, toke, toke interesting name anyway. So he's standing there and he's looking all creepy and slimy, as he usually does. He pulls his jacket back and she like runs away from him and and sits next to bellock, who she had just pulled a knife on. So it's that's already kind of funny, because she's like resting on his shoulder, like oh, uh-oh, um, but, but tope.
Speaker 2:Then he pulls out this like long stick. It looks like it's going to be some kind of like torture implementation. Like he's pulled it out and he straightens it out and it cuts back to Belak and Marion and they both look absolutely terrified, like oh gosh, this guy is about to like skewer us or do like peel our flesh or do something just heinous us, or do like peel our flesh or do something just anus. And then it cuts back to him and he just goes whoop and he like flips it and it becomes a coat hanger for his coat right.
Speaker 2:And then it cuts back to them and they're the bellocca variant and they're just both like oh, thank god, like it's this moment where they, uh, where sp Spielberg and the actors and the writers all built this like really intense moment, and then they just completely flip it on there, flip it on its head. It's, it's beautiful.
Speaker 1:Well, Rob, we are at that point of the episode where we look for our good, good, good listener questions.
Speaker 2:We do have a recording this week Um, it's a nice short one from our good friend, derek, and I just want to mention again thank you all so much for sending us your listener comments and questions, because we really do appreciate it and love it. We freaking love having conversations on our facebook group as well, and you can find all that stuff on our website jammerfund slash ifl team, and we 'll say it again later because we want you to go there. All right, so here is Derek and he has a question for you and me. Andrew, how important was John Williams to the tone and atmosphere of Raiders of the Lost Ark? Is it like a totally different movie with someone else composing the score?
Speaker 1:It's really fun when we get people who write in and ask us questions about things, like you know, when John asked us about the script a couple episodes ago and this one, derek's, asking about the music, and I always find it's fun when we dive into the other aspects than just like, just the filmmaking, right, because you and me a lot of times look at just the filmmaking side of things because that's predominantly what we did. You know, we weren't musicians, we weren't, we were writers. But you know it's yeah, it's just not something we've always discussed or we always look back and discuss. So I really appreciate this question from derek and I, and I think you know resoundingly, it would be a completely different film without John Williams score. And I think that's true, I think that's actually true about, like most really good and epic scores, like the scores make so much of the movie or the TV show you know, I think of, like Bear McCreary, his, his scores for TV shows are iconic and John Williams, of course, is iconic across the board.
Speaker 1:So it's hard to think of what would this movie be like without John Williams score. And I can't even imagine, of course, because you're used to this epic orchestral ensemble of John Williams. If you were to think about it, rob, what do you think a different musician person would do Like? I can't even imagine.
Speaker 2:I could see, like another, another composer doing something more like film noir mystery. Yeah, and it would shift the tone a lot darker than what we ended up getting with indiana jones so I was thinking it would either be like that.
Speaker 1:it would either be like the dark, like moody tones, like oh, or it would be like, um, the mummy movie with brendan frazier, yeah, you know where that one has a little bit more of a it's almost more of a plucky tone, but not this epic swelling orchestral tone, yeah. So I don't know.
Speaker 2:Plucky and horror yeah, the mummy. And this movie is like like moments of thrilling, like scary tension. Right, he ends up in situations like the snakes and people's faces get melted off and all this stuff Terrifying, truly terrifying things. And then it's like John Williams pulls you up out of it, really ascending adventure. It feels almost impossible to separate John Williams from Indiana Jones and Star Wars. It's just he made so much of those films what they were by the choice that he made in music and his, his main themes for Star Wars and for Indiana Jones.
Speaker 1:They are iconic. All the movies I can think of that are john williams, the theme, the theme. I mean, yes, the rest of the music is amazing, but the theme music in catch captures you and it's like I said, you get three bars in, or whatever music term is, and you are the whole way in and I love it. I just absolutely love it.
Speaker 2:It's all that you know. And then I'm, I'm thinking, even like Superman, the original Superman, the Richard Donner film, john Williams does the theme for Superman. It's like that is the Superman theme song now, like they've come back and like use that as a motif in other films because it's so iconic and entwined with that character that you can't, you can't not use it, right?
Speaker 1:it almost feels weird yeah, and to to kind of like, hold the hands of our sister podcast here rebooted. You know, so many of these times you see them rebooting these franchises or coming back to these franchises and what we call recalls. Uh well, we, we took that from screen, but you know what I mean. Um reboots or recalls, you, you hear them using the, the elements of these John Williams theme songs and it and it pairs so well even in this modernization, and you hear it and you know it and you can feel it and and that's anything like um.
Speaker 1:And then you know, obviously the new Indiana Jones movies uses the Indiana Jones theme song because it's like the old pulp story, so you're always going to intro with it. But even some of the other songs from throughout this you hear just kind of embedded throughout the entire franchise, and you're like, yeah, they're embedded throughout the entire franchise and you're like, yeah, they're. They're pulling pieces out and I don't know if that's a musical term, the motifs or whatever you were saying. But you, you hear the pieces of these original john williams songs. I guess I don't actually know if he wrote the music for the, the newest ones, but um, he did definitely feel his influence.
Speaker 2:I think he did all of them. But yeah he, he would bring that stuff back and inserted into other pieces and it's like they become just the rhythms of the story, right, you know, of the thematic element of the whole narrative, of the entire series of the movies to to bring in the star wars into this, because of course, we got to bring in sci-fi.
Speaker 1:It's, it's. I just want to mention this is this is the thing about john williams right, because there are other composers working on star wars now and you hear them bringing in, like the darth vader theme song or you know some of these other classic star war things. You hear it sprinkled throughout and you can feel that in the background sometimes and so it's, it's. It's just really well done and john williams is just a blessing of a composer and we are we are lucky to have him on so many of these classic films yeah, uh.
Speaker 2:so that is a great question, derrick, and we would answer it in saying that please don't ever do that. Don't take john, take John Williams out of this movie, because we freaking love his work in it so much. Right, and I I can't picture uh, I just can't picture it without John Williams. Um, he, he really does he's, he's equal parts with, like Spielberg and George Lucas and Lawrence Kasdan and like this character in my heart anyway.
Speaker 1:Oh, I want to thank you once again for for setting your question. Derek and I want to encourage all of you wonderful listeners. If you'd like to share your own comments or questions with us, visit us at jammerfun. That's j-a-m-rfun, slash i-f-l-t-m and submit your audio or text either way, whatever works for you, and we're going to treat it like a good old fashioned radio. Call in and just keep on answering these clips for as long as we keep getting them, just in the same way that we're bringing back the blockbuster.
Speaker 2:Be kind rewind. We're bringing back the good old fashioned radio. Call in, you know you're just. We're bringing some stuff back. We want to enjoy it. Let's enjoy movies together.
Speaker 1:So, rob, that brings us to this good old list here, where out of 32 does Raiders of the Lost Ark land, indiana Jones and the Raiders of the Lost Ark for me lands at number 12.
Speaker 2:So it is on my list between Rogue One, a Star Wars Story, and the Mummy Right above the Mummy we were just talking about it, it's right above Pirates of the Caribbean. Oh, is it, oh, okay.
Speaker 1:I missed it, man, I can't read anything.
Speaker 2:Jeez, sorry, everybody, they're like, no one's like we're not looking at the list right now. Anyway, rob, you're, we're, I'm driving my car, so I don't care, right so?
Speaker 1:they're like you could. You could have just said that and we would have believed you.
Speaker 2:Yeah, all right. So just to reiterate, raiders of the Lost Ark is at number 12. Rogue one above it, pirates of the Caribbean below it. Now we're all just anticipating. Andrew, where does Indiana Jones and the Raiders of the Lost Ark fall on your list?
Speaker 1:Alright. Well, indiana Jones, raiders of the Lost Ark it's going to come in right at number 21. So right below 28 Days Later and right ahead of Alien Interesting, and that is where that one's going, because I love it and I would watch it. But there's a lot of sci-fi and other stuff that I love on that list there's a lot of sci-fi it is crazy how much of my top list is sci-fi, but I guess I am nothing if not consistent.
Speaker 1:Not consistent, yes, all right. Well, I want to thank you all for joining us on this episode of I freaking love that movie. And don't forget, if you want to see our full lists, you can check them out at our website, jamrfun, slash ifltm. Then remember, you can always share your list with us. You can put questions in there, you can email us at info at jamrfun or follow us on our social media channels, which are all in description on your podcast app. So thank you once again for joining us on this episode. We look forward to having you back next week. In the meantime, please remember we all freaking love different movies, and that is a good thing. So, as blockbuster used to say, be kind and rewind. As always, we encourage you to share with anyone who will listen what movies you freaking love. Bye snakes.
Speaker 2:Why did it have to be snakes on a plane?
Speaker 1:because, as the Paw Patrol says, it ain't going down like that or something. I don't know. My son really loves Paw Patrol did they say that in the movie it was a thing it ain't going down like that.
