Tag Archives: Indiana Jones And The Temple of Doom

Rocks In The Attic #687: John Williams – ‘1941 (O.S.T.)’ (1979)

RITA#687You can sometimes find out more about a person’s failures as you can from their successes. Wunderkind director Steven Spielberg has had far more hits than misses, but the few occasions where he has missed the mark are very interesting.

His first failure came with 1941, his attempt at screwball comedy and a universally agreed thirty-five million dollar waste of time and effort. It’s difficult to put a finger on why it’s such a bad film – because there’s nothing redeemable about it. A weak link might be easy to spot, but when everything is egregiously bad, from the script to the performances to the music, it makes for a drastically awful film. Of course, all of this is amplified because it follows Spielberg’s huge mainstream successes, first with Jaws in 1975, and followed with Close Encounters Of The Third Kind in 1977. If it hadn’t been bundled with such anticipation, and if they hadn’t spent the GDP of a small South American country on it, it might have stood a chance.

Looking back, it seems that Spielberg might be as ashamed of his portrayal of the Japanese in this film, as he is of the film’s critical and commercial failure. It’s widely been surmised that one of Spielberg’s motives for making Schindler’s List (1993) was in reparation for the way in which he had portrayed the Nazis as comedic fodder in Raiders Of The Lost Ark (1981) and Indiana Jones And The Last Crusade (1989). In 1941, we see the start of that light-hearted characterisation, with the invading Japanese armed forces played for laughs opposite Dan Aykroyd and John Belushi.

The musical score for 1941, composed by Spielberg alumni John Williams, is just as forgettable as the rest of the film, which is strange considering how the pairing usually produces gold. Spielberg, ever the amiable collaborator, has repeatedly stated in interviews that The March From 1941 is his favourite of Williams’ marches. This is extremely strange when you realise that the main title themes of Williams’ Superman: The Movie and Indiana Jones scores are both marches, and really there’s nothing better in all of cinema.

I recently saw the excellent HBO documentary Spielberg (2017) – a two and a half hour journey through the life and career of the director. Unsurprisingly, the film focuses on his successes and merely brushes over his failures. Of the latter, 1941 gets the most airtime for being his first disappointment, but later failures are mainly ignored.

RITA#687aHis first failure to me, long before I racked up the courage to watch 1941, was Always, an overly-sentimental (even for Spielberg’s standards) romantic drama from 1989 starring Richard Dreyfuss, Holly Hunter and John Goodman. I saw this film at the cinema with my parents, at the Odeon West End in Leicester Square during our annual family trip to London. Coming straight after Indiana Jones And The Temple Of Doom and Empire Of The Sun – both of which I’d also seen at the cinema (I didn’t get to see The Color Purple until much later due to its adult nature), it really came as a shock. Everything I had seen by Spielberg up to that point had been a classic. What the hell was this schlocky mess?

Unsurprisingly, Susan Lacy’s Spielberg documentary doesn’t even mention Always. It also quickly skips over Hook – a later disappointment from 1991, which Spielberg has all but since disowned – and completely ignores The Lost World: Jurassic Park (1997), the sequel he said he would never make, and 2004’s The Terminal. In fact, The Terminal is such a bad film, that it’s a wonder he didn’t try to take his name off it.

The one interesting exclusion from the documentary is 2011’s The Adventures Of Tintin. While this may not have been the runaway commercial success it should have been, it’s still a great family film and a much stronger piece of work than 2016’s The BFG, itself a box-office disappointment yet referenced many times in Lacy’s film.

Hit: The March From 1941

Hidden Gem: The Invasion

Rocks In The Attic #646: John Williams – ‘Indiana Jones And The Temple Of Doom’ (1984)

RITA#646The other night, after a hard week at work, I sat down to watch Kingsman: The Golden Circle with my wife. I wasn’t expecting much – I hadn’t heard good things – but I wasn’t prepared for how stunningly average it was. Would I say it is a bad film? No, not really. It was technically well made, by a more than competent director (Matthew Vaughn), but it was instantly forgettable.

When I grew up through the 1980s, there seemed to be fantastic genre films coming out all the time, dotted with the occasional howler (Superman IV: The Quest For Peace, Jaws IV: The Revenge – possibly anything with “IV” in the title, although Rocky IV was a banger). These days, the howlers are relatively easy to avoid. Production of big marquee films tends to be spread across multiple studios sharing the risk of a multi-million dollar budget, and as a result they don’t seem to let a franchise die at the hands of a bad script or a deluded director.

Hollywood’s destructive habit in the last decade is movie-making by numbers; a manifesto of mediocrity. The sheer amount of unremarkable genre films it has produced is testament to the absence of risk that directors and producers are willing to take in order to make something that stands out.

I remember reading an interview with Marvel Studios president Kevin Feige back in 2009, where he outlined his plans for the Marvel Cinematic Universe (MCU). His strategy of an overloaded release schedule – 4 or 5 films a year – seemed too good to be true. That’ll never happen, I thought. But it now feels like there’s a new Marvel film out every other month.

The other unbelievable aspect of his strategy was talk of bringing Captain America, Iron Man, Thor and the Hulk together for an Avengers movie. That will definitely never happen, I thought. The Hulk and Iron Man had been revitalised in film by Marvel already, and I just couldn’t see Robert Downey Jr. and Ed Norton sharing a film together with whatever big names they had lined up to play Captain America and Thor. In a way I was right, as they eventually replaced Norton with a different (cheaper?) actor in Mark Ruffalo, but Feige’s vision ultimately proved true. Ensemble genre films are a dime a dozen these days, and it’s rare for a superhero film to be limited to only one or two key roles. This week saw the release of the trailer for the third (?) Avengers film, introducing the Guardians Of The Galaxy into the earth-bound world of the Avengers. Around and around it goes. Pop will eat itself.

But when Feige sits down in his old age – in his superhero-sized mansion – and tells his privileged grandchildren about his life’s work, how will he feel? For the – by my count – seventeen (!) MCU films that have seen the light of day since 2008, I can really only put my finger on one or two that I would hold up as being great films. Iron Man (2008) and The Avengers (2012) stand head and shoulders above the rest, and while there have been great moments among the others, in general they’re all junk; popcorn escapism for the masses.

The rot set in early on, with 2010’s Iron Man 2. How could they get the sequel so wrong, when they got the first Iron Man so right? I spoke to a fan of the series upon its release, and he couldn’t see any difference between the two. That’s the problem with casual film viewers. They just want what they expect, and they’ll happily visit the cinema every time for that hit of familiarity – Coca-cola in their veins, popcorn in their arteries, and the anticipation of safe storytelling that’s not going to push any boundaries and make them feel uncomfortable. Narrative left-turns in cinema these days are met with whispered conversations in the dark as couples explain to each other what is happening on screen.

Marvel’s now-misguided strategy to steady the ship was to deliver a third iteration in the Iron Man series (2013) which was so incredibly poor, that they should have developed a new category at the Academy Awards to recognise it. ‘And the ‘Best Mediocre Picture’ Oscar goes to…’

If Marvel’s attempts at serious filmmaking are to be laughed at, I’m not sure what we’re supposed to think of their rivals’ efforts at DC. Christopher Nolan reinvigorated the modern superhero film with Batman Begins in 2005, and so you’d think his successors might have learnt a thing or two from him. But as soon as he stepped away from the director’s chair, the DC Extended Universe (DCEU) kicked off with one of the dullest superhero films ever committed to celluloid (Man Of Steel, 2013).

Where Richard Donner’s Superman: The Movie (1978) was a glorious piece of wondrous entertainment, setting a high bar that wasn’t really challenged until Tim Burton’s Batman (1989), Zack Snyder’s Man Of Steel is a turgid mess. I seem to remember a fight sequence at the end that lasted around three hours. I didn’t care about any of the characters, and I secretly hoped that mankind would have been wiped off the screen just so that it would have put me out of my misery.

I might have watched Donner’s Superman and Richard Lester’s Superman II close to a hundred times each. I wouldn’t watch Man Of Steel again if my life depended on it.

Which brings me to Indiana Jones And The Temple Of Doom. Now, Steven Spielberg knew how to make a good genre film back in the ‘80s. Easily the weakest of the original trilogy – although not according to my old buddy Quentin Tarantino, who sees it as the strongest of the three – it’s still an infinitely more enjoyable film than the unremarkable dross dealt out to us by Hollywood in the twenty-first century.

Hit: Anything Goes

Hidden Gem: Finale And End Credits