In defence of Indiana Jones and the Kingdom of… | Little White Lies

In Praise Of

In defence of Indi­ana Jones and the King­dom of the Crys­tal Skull

21 May 2018

Words by Alex Flood

A man in a hat and coat holding a large, silvery skull in his hands, surrounded by a dark, cave-like setting.
A man in a hat and coat holding a large, silvery skull in his hands, surrounded by a dark, cave-like setting.
Is Indy’s fourth out­ing real­ly as bad as every­one remembers?

In 2008, the George Lucas back­lash was almost com­plete. His remas­tered’ ver­sions of the orig­i­nal Star Wars tril­o­gy had been round­ly crit­i­cised, the pre­quels trashed, and in a reveal­ing behind-the-scenes clip, the direc­tor him­self even admit­ted that he may have gone too far”. All that was need­ed to per­ma­nent­ly tar­nish his rep­u­ta­tion was anoth­er poor­ly-received reboot. Enter Indi­ana Jones and the King­dom of the Crys­tal Skull.

Plagued by pro­duc­tions prob­lems, the fourth instal­ment in the Indi­ana Jones fran­chise was doomed from the start. First, the film’s pro­duc­ers couldn’t work out if they even want­ed the sequel, then Lucas and Steven Spiel­berg took years to pick a screen­play before final­ly set­tling on David Koepp’s 1950s-set sci-fi adven­ture. Maybe if they’d been more ruth­less in their deci­sion mak­ing, things might have turned out differently.

In the end, the detrac­tors were proved right. As a tra­di­tion­al Hol­ly­wood block­buster, Indy 4 is an overblown mess stuffed with ter­ri­ble CGI and some bizarre plot devices. The car­toon­ish gophers? The poor­ly-ani­mat­ed killer ants? The nuke-resis­tant, lead-lined fridge? All com­plete­ly ridicu­lous. As a mid-cen­tu­ry peri­od piece, how­ev­er, Crys­tal Skull works a treat.

In 1957, the cli­mate of anx­i­ety and para­noia in Amer­i­ca was pal­pa­ble. The Sec­ond Red Scare had pro­found­ly altered the country’s psy­che and even though Sen­a­tor Joseph McCarthy had been cen­sured, the Reds under the bed’ mind­set pre­vailed. As such, it is com­plete­ly plau­si­ble that a uni­ver­si­ty pro­fes­sor would have been dis­missed for asso­ci­at­ing with Rus­sians — as hap­pens to Jones in KOTCS.

The under­pin­ning Cold War nar­ra­tive in which Indy 4 oper­ates is exe­cut­ed just as well as in Spiel­berg’ Bridge of Spies. Yet one is praised for its authen­tic­i­ty and the oth­er not. We should, of course, expect all movies to be his­tor­i­cal­ly accu­rate (where nec­es­sary). But that’s not the point. When you look at Crys­tal Skull in its orig­i­nal con­text it starts to make more sense.

Soldiers traversing rocky terrain on ropes and harnesses

Mutt Williams, played by Shia LaBeouf, is often held up as a scape­goat for the film’s fail­ings. But apart from being one of LaBeouf’s less-man­ic per­for­mances, it’s also a dig­ni­fied trib­ute to the screen heroes of Spielberg’s youth. In one telling DVD extra, LaBeouf reveals that the direc­tor gave him three titles to watch as inspi­ra­tion: Black­board Jun­gle, Rebel With­out a Cause and The Wild One. You only have to glance at Mutt’s smokey entrance scene – astride a Harley-David­son, clad in bag­gy cap and leather jack­et – to clock the obvi­ous nod to Mar­lon Brando.

Enjoy­ment of the film rests on one’s will­ing­ness to accept its sci-fi ele­ments. Called back into action by Sovi­et kid­nap­pers, Indy must jour­ney to a lost city in the Ama­zon to uncov­er the secret behind mys­te­ri­ous arte­facts known as the crys­tal skulls. Many, includ­ing Spiel­berg, were scep­ti­cal of this par­tic­u­lar plot device. I nev­er liked the MacGuf­fin”, he told Empire mag­a­zine in 2011. George and I had big argu­ments about it. I didn’t want these things to be either aliens or inter-dimen­sion­al beings.”

In the end, he chose not to fight Lucas on it and now says he’s proud of the sto­ry. After all, the MacGuf­fin is just a plot device and not what the film is about. The oth­er Indi­ana Jones films all use fan­tas­ti­cal arte­facts to dri­ve the plot: a gold box that makes you invin­ci­ble; a stone that promis­es for­tune and glo­ry; a cup that gifts eter­nal life. Com­pared to those, a shiny alien cra­ni­um doesn’t seem so far-fetched.

In fact, it plays right into the 1950s obses­sion with extra-ter­res­tri­al life. The Day the Earth Stood Still, War of the Worlds and Inva­sion of the Bodys­natch­ers were all big hits which cap­i­talised on pub­lic hys­te­ria after the gov­ern­ment start­ed record­ing UFO sight­ings in the pre­vi­ous decade. Even if you hat­ed those poor­ly-ren­dered space freaks, you can’t argue they don’t fit.

There are oth­er things this sequel gets right, too. The action set pieces are fast-paced, man­ag­ing to por­tray Indy’s advanced age with­out sac­ri­fic­ing excite­ment. And as for the fridge scene, yes, it was a mis­step. But fans who sin­gle it out are wrong to call it a jump the shark’ moment. The Indi­ana Jones fran­chise had seen many equal­ly bonkers inci­dents before: The Last Crusade’s bendy boat’, back-surf­ing in Raiders of the Lost Ark and The Tem­ple of Doom’s cult leader lit­er­al­ly rip­ping the heart out of a man’s chest with his bare hands. If you’re hap­py to accept those moments, then per­haps it’s time to cut King­dom of the Crys­tal Skull some slack.

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