Director Report Card: Steven Spielberg (1989) - Part One

14. Indiana Jones and the Last Crusade

George Lucas is fond of trilogies, isn’t he? Indiana Jones was born in Hawaii, when Lucas and Spielberg where kicking around ideas for a new adventure hero. At the time, George told Steve that this new character would be the focus of a trilogy. Spielberg was skeptical, not wanting to commit himself to three films. Lucas assured him that he had already written the next two parts. That was a lie. Nevertheless, "Raiders of the Lost Ark" did spawn an enormously successful sequel. In 1989, Harrison Ford would don the fedora, leather jacket, and whip for a third time. It was also assumed to be the last time, at least for a while. This is why the third Indy adventure was clarified as the last crusade. Dr. Jones' retirement from adventuring ended up not sticking forever but Spielberg and team tried to create a crowd-pleasing climatic adventure nevertheless.

Two years after protecting the Ark of the Covenant from the Nazis, Indiana Jones finds himself in war torn Europe once again. A man named Walter Donovan informs Indy that his estranged father has gone missing. Indy’s dad was obsessed with locating the Holy Grail. It would appear that he was close to finding it. Jones’ adventure reunites him with his estranged father before he quickly discovers that Donovan is in cahoots with the Nazis. Now, a race is on to see who can discover the cup of Christ first. Another epic adventure ensues, taking the archeologist and his dad across Europe and into the heart of the holy land. 

Fans, audiences, and critics weren’t the only ones who complained that “Indiana Jones and the Temple of Doom” was too dark. Spielberg and Lucas both feared they went too far last time. Both filmmakers sought to make up for that tonal shift. Considering I like “Temple of Doom” quite a lot, I always found this course correction too hasty. In fact, I've always felt “The Last Crusade” goes too far in the other direction. The third adventure tosses in more jokes than either previous film. “The Last Crusade” also revisits concepts better explored in prior parts of the trilogy. Indy revisits the Middle East, explores a booby trap-filled temple, battles Nazis, and clings to the outside of a military vehicle. Perhaps Spielberg was too eager to please audiences.

A climate that is focused on humor and pointing out things the audiences already knows is apparent from the first scene. “Indiana Jones and the Last Crusade” begins with a flashback to Indiana’s first adventure, when he was a teenager. The sequence painfully introduces many of the hero’s defining characteristics. He proclaims an item belongs in a museum. He picks up a bull whip for the first time. He stumbles into a barrel full of snakes, birthing his phobia of the slithery reptiles. He receives his iconic brown fedora. I’m not a big fan of these blatant references. However, that opening is a lot of fun, featuring an exciting run through a circus train that takes full advantage of the different animals aboard. It also shows that Indy’s quick thinking has been saving his life since he was a teenager. River Phoenix makes for a decent approximation of a young Harrison Ford.

I have my problems with “The Last Crusade” but few of them are with the first act. A fight on a boat in the rain works well and finishes with a big explosions. I’m not a fan of the “X marks the spot” line or the gag with the librarian. Yet the sequence devoted to Indy and Elsa exploring the Venice library is quite good. It’s the kind of sleuthing and spooky exploration you expect from the series. The boat chase that follows escalates nicely, with Indy barely navigating his way through a ship yard. Afterwards, the pursuers get crushed between two of those same boats. The final image of the chase, the speedboat slowly being clipped away by a large propeller as Indy dangles aboard, is another solid moment.

Truthfully, “The Last Crusade” is a good Indiana Jones movie… Until Sean Connery shows up. Casting Connery as Jones’ dad is itself something of an in-joke. Indiana is both a pop culture descendent of James Bond and was originally conceived as a potential successor to the character. Connery’s performance is fine, as he’s seems genuinely engaged with the material. My problem with Henry Jones Sr. is how the script handles him. In their first scene together, Connery whacks Ford on the head with a vase. From that point on, the movie rarely misses an opportunity to have Indy’s dad make him look like a fool. Indiana Jones is who we’re here to see. He’s the character we love. Why is the movie devoting so much energy to making fun of him? If the gags were cleverer, it might be different.

There’s a thematic through-line in these first three Indiana Jones movies. “Raiders of the Lost Ark” dealt with an artifact from Jewish theology. “The Temple of Doom” concerned itself with Hindu beliefs. “The Last Crusade” has the archeologist seeking a relic rooted in Christianity. Since the Holy Grail has been sought by many adventurers, it makes sense that Indiana Jones would try and find it. While the previous two movies chose their religion for a reason, “The Last Crusade” seems cagier about the chosen faith. There’s no contrast between Christianity and the Nazi bad guys, beyond a general idea of good against evil. Instead, the Holy Grail is wrapped up in the father/son story. Dr. Jones Sr.’s mania for the Grail is what drove father and son apart. Considering the Grail is representative of a relationship between another father and son, choosing that particular object takes on a new meaning.

Aside from dad, “The Last Crusade” brings in allies both new and old. Elsa Schenider, played by the hilariously named Alison Doody, is the new love interest this time around. She lacks the tough personality of Marion Ravenwood and the humorous reactions of Willie Scott. However, she’s not without her charms, as Doody nicely inhabits the part of a femme fatale with ambiguous loyalties. Assuming this crusade very well might have been the last, the third adventure makes sure to bring back Sallah and Marcus Brody. John Rhys-Davis continues to be good as Sallah, sneakily telling someone to run and making comments about his brother-in-law. For some reason, the third movie makes Denholm Elliot’s Brody comic relief. Suddenly, the curator becomes a clown, getting lost in his own museum and missing obvious cues before him. I don’t know why the writers made this decision, though Elliot’s performance is still fine.

After taking a break from those wacky Nazis last time, Indy is back to attacking the Third Reich. Without the deliberate contrast of Hebrew history, the Nazis are reduced to action movie bad guys. Not that there’s too much wrong with that. The introduction of the Swastika is handled dramatically, with it slowly sliding on-screen inside a castle. A sequence set at a Nazi book burning has a raw power. Spielberg sets a brief sequence on a zeppelin, seemingly so he can get that iconic image in the movie. Aside from a mildly amusing and brief appearance from the Fuhrer, the main villain of “The Last Crusade” is Walter Donovan. Not as creepy as Toht and not as interesting as Mola Ram, Donovan is still an okay adversary. Julian Glover excels in conceited, evil snob parts. Col. Vogel, with his bright red Nazi armband, provides a solid physical threat to the heroes.

Humor has always been a part of the “Indiana Jones” formula. I believe that “The Last Crusade” piles it on a little thick. The potential intensity of action sequences are undermined by goofy sight gags. While the Joneses are tied to a chair in a burning room, they stumble through a secret passageway into a room, seemingly unaffected by the fire. A mildly ridiculous moment has a crate crashing open perfectly so Indy and his dad can escape on a motorcycle. The most ridiculous moments appeared during the airplane chase. After a Nazi plane smashes through a tunnel, the pilot pauses to share a glance with the Jones boys. Later, Indy’s dad defeats a airplane with a flock of birds. Even a solid fight scene on a tank concludes with a goofy moment, in the form of a screaming officer’s face as the tank sails off a cliff.

The humor is divisive but “The Last Crusade” still tosses in some impressive action sequences. There are chases of all kinds. Aside from the boat chase, there’s a motorcycle chase. With Henry Jones Sr. tucked in a sidecar, the two fight off advancing Nazi officers. A flagpole is utilized in an especially memorable gag, concluding with a bike bounding up into the air. The fight atop the tank has Indy rolling around on the moving tread, which is a neat image. A bullet ricochets around the interior of the tank, a visual gag that doesn’t go too far. The fist fights and shoot outs are up to snuff with the previous films. 

Even with the problems I have with “The Last Crusade,” a lot is forgiven once that awesome last act rolls around. After successfully reaching the temple of the Grail, Indy has to pass three test. Each one features some dynamic images and action. Such as the dust and spider webs of the ancient temple being disturbed by a sudden spinning saw blade. Indy diving out of the way just in time is an exciting sight. The leap across the letters begins with Indy nearly falling to his death, re-emphasizing his humanity and ability to make mistakes. The last test, a walk across a nearly invisible bridge, provides another unforgettable image. The proper climax is another great moment. The Grail’s protector being immortal but feeble is properly ironic, as is the reveal concerning the appearance of the Grail. “The Last Crusade” also honors the tradition of the main villain receiving a visceral send-off. Donovan ages fifty years in seconds, dissolving into a corpse before the audience’s eyes. It’s cool.

As Indiana and his dad ride off into the sunset, the film gets one more jab at his expense. In the movie, as in real life, Indiana was named for a dog. For years, “The Last Crusade” was my least favorite of the series, back when it was still a trilogy. Yet even a subpar Indiana Jones movie is pretty good. Connery’s character may be awkwardly handled but it’s a decent performance. The sequels’ tone might be too light but it still delivers some impressive action set pieces. I have problems with the movie but I can’t hate it. [Grade: B]