When Dr. Indiana Jones – the tweed-suited professor who just happens to be a celebrated archaeologist – is hired by the government to locate the legendary Ark of the Covenant, he finds himself up against the entire Nazi regime.
- Indiana Jones: Harrison Ford
- Marion Ravenwood: Karen Allen
- Dr. René Belloq: Paul Freeman
- Sallah: John Rhys-Davies
- Major Arnold Toht: Ronald Lacey
- Colonel Dietrich: Wolf Kahler
- Gobler: Anthony Higgins
- Dr. Marcus Brody: Denholm Elliott
- Satipo: Alfred Molina
- Barranca / Monkey Man: Vic Tablian
- Col. Musgrove: Don Fellows
- Major Eaton: William Hootkins
- Katanga: George Harris
- Jock: Fred Sorenson
- Mohan: Anthony Chinn
- Messenger Pirate: Eddie Tagoe
- Bureaucrat: Bill Reimbold
- Australian Climber: Patrick Durkin
- 2nd. Nazi: Matthew Scurfield
- Ratty Nepalese: Malcolm Weaver
- Mean Mongolian: Sonny Caldinez
- Giant Sherpa / 1st Mechanic: Pat Roach
- Otto: Christopher Frederick
- Imam: Tutte Lemkow
- Omar: Ishaq Bux
- Abu: Kiran Shah
- Fayah: Souad Messaoudi
- Arab Swordsman: Terry Richards
- German Agent: Steve Hanson
- Pilot: Frank Marshall
- Young Soldier: Martin Kreidt
- Sergeant: John Rees
- Tall Captain: Tony Vogel
- Peruvian Porter: Ted Grossman
- German Soldier (uncredited): Vic Armstrong
- German Soldier (uncredited): Peter Diamond
- German Soldier (uncredited): Nick Gillard
- German Soldier (uncredited): Romo Gorrara
- German Soldier (uncredited): Rick Lester
- German Soldier (uncredited): Rocky Taylor
- German Lieutenant (uncredited): Reg Harding
- German (uncredited): Harry Fielder
- Gobler’s Gunner (uncredited): Billy Horrigan
- Driver of German Truck (uncredited): Terry Leonard
- Driver of German Truck (uncredited): Sergio Mioni
- Nazi Spy on the Airplane (uncredited): Dennis Muren
- Flying Wing Mechanic (uncredited): Glenn Randall Jr.
- U-Boat Captain (uncredited): Michael Sheard
- Special Vocal Effects (voice) (uncredited): Frank Welker
- Story: George Lucas
- Original Music Composer: John Williams
- Sound Effects Editor: Mark A. Mangini
- Director: Steven Spielberg
- Editor: Michael Kahn
- Casting: Jane Feinberg
- Casting: Mike Fenton
- Story: Philip Kaufman
- Producer: Frank Marshall
- Executive Producer: Howard G. Kazanjian
- Director of Photography: Douglas Slocombe
- Casting: Mary Selway
- Production Design: Norman Reynolds
- Sound Designer: Ben Burtt
- Supervising Sound Effects Editor: Richard L. Anderson
- Associate Producer: Robert Watts
- Production Intern: Michael Bay
- Art Direction: Leslie Dilley
- Screenplay: Lawrence Kasdan
- Costume Design: Deborah Nadoolman
- Set Decoration: Michael Ford
- Stunt Coordinator: Glenn Randall Jr.
- Makeup Artist: Tom Smith
- Production Supervisor: Douglas Twiddy
- Stunts: Rocky Taylor
- Assistant Editor: Bruce Green
- Stunts: Vic Armstrong
- Stunts: Terry Leonard
- Visual Effects Supervisor: Richard Edlund
- Hairstylist: Mike Lockey
- Additional Photography: Paul Beeson
- Stunts: Peter Diamond
- Stunts: Sergio Mioni
- Stunts: Reg Harding
- Orchestrator: Herbert W. Spencer
- Camera Operator: Chic Waterson
- Stunts: Rick Lester
- Visual Effects: Paul Huston
- Driver: John Ott
- Stunts: Romo Gorrara
- Assistant Costume Designer: Sue Wain
- Location Manager: Bryan Coates
- Driver: Terry Pritchard
- Makeup Artist: Jim Gillespie
- Stunts: Billy Horrigan
- Orchestrator: Carl Fortina
- tmdb39513728: **Trailblazers of a Lost Art**
Little wonder James Cameron and Joss Whelon movies are the biggest box-office earners. They are masters of cinematic rhetoric. The unfolding dramatic situations and controlled dialogue are meticulously contrived. Cameron could probably have potted more if it wasn’t for his earnest, simplistic messages (rich bad; nature good). All three movies (_Titanic_, _Avatar_, _Avengers_) plot along comfortably then suddenly spike spectacularly.
But no one has ever laid on the cinematic charm and cajolery like Stephen Spielberg. He was by far the craftiest manipulator of action and melodrama there ever was. He was the progenitor of summer blockbusters and all-ages, all-nations spectacles. At his best he had a gift for re-living and realizing that ethereal and irresistible childhood awe.
If _Raiders of the Lost Ark_ (NOT the sequels… NO, not even the father- son one) was made today, exactly the same way, okay maybe in 3D with updated CGI, it would surely land at the top of the box-office heap. It is essentially the first comic book movie that wasn’t a comic book (bespectacled mild-mannered Archaeology prof by day and globe-trotting whip-wielding action hero on sabbatical). _Raiders of the Lost Ark_ (the first and only) is arguably the greatest adventure movie ever cooked up. And we, the abject audience, servile participants of the artifice, were licking its boots. We wanted Spielberg and his Indy to rope us in, reel us into the action, and completely have their way with us. We overlooked the emotional manipulation and contrived trappings because it was a pure freaking joy to watch, a Lucas produced godsend. Harrison Ford was born to play it just as Steven was born to direct it. It’s really too bad they had to brand and knock off inferior sequels that, while making oodles of money, tarnished the shine of the unsurpassed prototype.
Indiana Jones was the perfect reluctant action hero on a selfless mission. A whip-snapping, truck-wrangling, swordster-gunning, Nazi- brawling adventurer who was matched only by his headstrong and sassy love interest, one pistol of a gal who could drink any man under the table. Not enough credit has been given to the great Lawrence Kasdan as the writer of this marvellous adventure. The script is as close to perfect as anybody could scribe. Even a dialogue-heavy expository scene (poisoned dates) was infused with a tense element of suspense. Yes, the story was hyper-fictional, completely contrived, shamelessly far-fetched… and altogether delightful. I wasn’t expecting much when I went in to watch it back in 1981, but it had me wanting to do do back-flips on the way out. America’s own Fab Four, Larry, Steve, Harrison and George, put on an action-adventure clinic.
Possibly the only weak spot in the movie is the climax which had our hero and heroine tied to a stake while God, the almighty Mcguffin from the Old Testament, magically wrapped things up for them. “Don’t look” Indy warns, with his patented crooked grin. Are you kidding? We can’t possibly take out eyes off of this. With respect to lost Teddy Bears from space and anti-Nazi machinators, Raiders is Spielbergs greatest achievement. It is one of the finest films ever made, of its or any kind. It is, hands down, my desert island movie.
- Gimly: I think for a lot of people, Raiders is their favourite (x) movie. Be that their favourite adventure movie, favourite ’80s movie, favourite Spielberg movie, whatever. None of those ring true for me, but it is my favourite Indiana Jones movie. I was a mad fiend for Temple of Doom as a kid, and I’ve managed to make multiple teachers put The Last Crusade on in class, so I’m quite a fan of the franchise, but Raiders is the most enjoyable to me… I’ve never even seen Crystal Skull… So maybe it’s dishonest to say I’m a fan of the franchise… I’m a fan of the trilogy!
_Final rating:★★★½ – I really liked it. Would strongly recommend you give it your time._
- Kamurai: Good watch, could watch again, and can recommend.
For Spielberg’s American Alan Quartermaine, I can certainly understand what the hype is about, but I’ve never been a big fan myself.
For starters, Nazis are boring. I’m sure they were all the rage once upon a time as a classic villain, but it doesn’t do much for me.
Harrison Ford, of course, carries the movie, but Karen Allen plays really well with him throughout the movie and is amazing in her own right.
If nothing else, Spielberg is able to shoot a powerful atmosphere, and the movie is captivating and engaging.
It’s not something I can watch over and over, but when I do watch it I know I’m going to get drawn in and have a great time.