Raiders of the Lost Ark

Tags

1980's, Action, Adventure, Alfred Molina, Denholm Elliott, Harrison Ford, John Rhys-Davies, Karen Allen, Paul Freeman, Raiders of the Lost Ark, Ronald Lacey, Steven Spielberg

Action/ adventure was given a new lease of life in Steven Spielberg’s Raiders of the Lost Ark ; a rollicking, entertaining tribute to old adventure serials with a classic turn by Harrison Ford and all the right ingredients for an energetic blockbuster. Raiders of the Lost Ark is truly one of those iconic films that never gets boring no matter how many times you’ve seen it. Trust me, this movie is simply irresistible.

The year is 1936 and rugged Indiana Jones(Harrison Ford), often refereed to as Dr. Jones or Indy, is an archaeologist/adventurer with a dry sense of humour, skill with a whip, fear of snakes and ability to think quickly on his feet. He works as a college professor when he’s not facing immense danger around the globe. We first meet him in the jungles of South America where he procures an artefact, faces down danger and meets his slimy rival René Belloq( Paul Freeman), who always seems to be one step ahead of him. Back at the university he teaches at, his friend Marcus Brody(Denholm Elliott) a museum creator approaches Jones with two American agents. As Indy has knowledge of ancient relics and cultures the U.S government wants his help in dealing with the growing power of the Nazis. It’s come to their attention that the Nazis are fixed on discovering the burial place of The Ark of Covenant; an ancient and innumerable chest that according to the Bible held the two stone tablets bearing The Ten Commandments. Also housed in it is immeasurable power that the Nazis wish to harness to further advance their cause. Jones worked with Abner Ravenwood, his old mentor and had a relationship with his daughter Marion(Karen Allen). Travelling to Nepal, he meets the tough talking Marion once more and learns her father is dead. She is now in possession of a headpiece that when used properly shows the whereabouts of the Ark. She isn’t too pleased to see Indy as he romanced her and then disappeared, which leaves him with a hell of a punch across the face on their reconnection. The fact that Marion has the key to discovering the Ark puts her in the firing line for trouble. This in turns leads the Nazis to her door, headed by the very creepy and sadistic Gestapo agent Arnold Toht(Ronald Lacey). Escaping and discovering the Nazi’s, along with Belloq are digging in Cairo, Indiana and Marion head there intent on stopping them. With aid from loyal digger Sallah( John Rhys-Davies), it’s up to Indy and Marion to stop the Ark falling into Nazi hands and being wielded as a devastating weapon on the world. 

Steven Spielberg directs this action adventure classic with panache, wit and a rip-roaring sense of entertainment and it ranks as one of his best films. You can clearly see the love and feeling of breathless action he infused Raiders with to make it so rightfully iconic. His infectious enthusiasm to recreate 30’s adventure serials transfers to the audience who are swept along with Indiana Jones in his quest to retrieve the eponymous artefact from the clutches of evil. Raiders of the Lost Ark bristles with excitement right from the celebrated opening and continues on with breathless action that also houses great characters and many instances that have become synonymous with pop culture. You’ve got that opening with Indy retrieving a golden idol from a cave that’s laced with booby traps( including one menacing boulder), a journey into the resting place of the Ark which is littered with snakes, Indy hilariously shooting a show off swordsman in a nonchalant manner, a scintillating truck chase sequence that puts the A in action and the unveiling of the Ark itself. It’s hard to just talk about one moment but I’ll do my best. The cinematography has a warm glow of yesteryear and just adds further to this exciting and escapist adventure that never leaves you. The visual effects still hold up and make the finale a sight to behold in both wonderment and shock. And one of the finest and most fondly remembered parts of this movie has to be the score from the maestro that is John Williams. I’ve long been a fan of his work and his score here is one of the reasons why. I mean you only need to hear a few notes of the now famous theme to feel chills on your neck and know you’re listening to greatness that embodies adventure, danger and just that giddy feeling of something magic at work.

Essaying the role of Indiana Jones is the incomparable Harrison Ford. He’s got the humour down, the intrepid feeling of adventure, plus charm and smarts to burn. Ford is compelling and it’s pretty damn impossible to imagine anyone else playing the part because he makes it his own with star quality, wit and a certain level of old school, heroic cool. It’s hard not to warm to Indiana Jones with Harrison Ford in such fine form and creating one of the most recognisable heroes of the silver screen. Aiding him is the beautiful but strong presence of Karen Allen. She portrays Marion as feisty and not afraid to rough and tumble; thankfully she has more to do that just a be a love interest. Not that her chemistry with Ford isn’t impressive( it’s extremely good), but it’s great to see that she serves a purpose here and can take charge when needed. A slimy turn from Paul Freeman makes Belloq a cultured yet rotten to the core adversary for Indy, while is creepiness personified as the Nazi agent with the most unnerving demeanour. Humour and a certain lovable nature comes courtesy of John Rhys-Davies, making the most out of his supporting role as loyal friend. The refined Denholm Elliott also stands out in a small role with his well spoken air and sense of a gentleman. Watch out for a young Alfred Molina in the opening scene as a treacherous tour guide who meets a grisly end after showing his true, deceitful colours. 

With compelling action, imagination, fine acting and a masterful director at the helm, Raiders of the Lost Ark is one of the most rip-roaring pieces of adventure entertainment you’re likely to see and trust me, you’ll never tire of it.

Working Girl

Tags

1980's, Alec Baldwin, Comedy, Harrison Ford, Joan Cusack, Kevin Spacey, Melanie Griffith, Mike Nichols, Oliver Platt, Sigourney Weaver, Working Girl

Film Title

Working Girl

Director

Mike Nichols

Starring

• Melanie Griffith as Tess McGill
• Harrison Ford as Jack Trainer
• Sigourney Weaver as Katharine Parker
• Joan Cusack as Cynthia
• Alec Baldwin as Mick
• Oliver Platt as David Lutz
• Kevin Spacey as Bob Speck

Working Girl is an effervescent and feel good comedy from Mike Nichols, that satirizes the corporate business world and conveys a woman grabbing the opportunity to make something of herself. Light and funny yet also intelligent, this combination, when aided by a very accomplished cast ensures Working Girl is a triumph.

Having just turned 30, Staten Island raised secretary for a stockbroker Tess McGill wishes for something more and wants a job of an executive nature. Sadly, no matter how hard she strives, nothing much seems to come of her diligence. And after a run in with her boss, she is reassigned to a financial firm. She is to be the secretary for Katharine Parker; a seemingly affable and powerful woman who appears to take Tess under her wing and encourages her to pitch ideas. Tess comes up with a pretty neat idea for a lucrative merger that she passes by Katharine, but nothing seems to come of it. Then Katharine is injured during a skiing trip in Europe, which enables Tess to look after business while she recovers. It is here that Tess discovers that Katharine was about to go forward with her idea, without giving her any credit. But two can play at that game and Tess decides that is she wants to make her name for herself, she must take action. And action is what she takes, by styling herself into the persona of a higher executive. Though a risky move, her smarts and innate mind for business make up her artillery as she mounts her idea to a potential merger. Along the way, she enlists the help of the handsome executive Jack Trainer, who could be very handy in aiding her business plans. The thing is Jack believes that Tess is someone higher up in the job than what she is because she is so convincing with the ins and outs of making deals, and Tess manages to keep her proper status this under wraps though. Along the way, Tess and Jack develop romantic feelings for the other. Tess finds herself on the cusp of closing this deal and winning Jack, but a spanner is put in the works with the return of conniving Katharine.

Mike Nichols has always been a director who I admire, mainly for his perceptive probing of people and his approach to the characters. He infuses Working Girl with a funny surface that chimes well with the personable elements of the story, but like always, he cuts a bit deeper and has a ball dissecting big business in New York and the often ruthless tactics employed in it. Nichols work has a crisp and unobtrusive approach to it, knowing exactly when to use the camera for something different and when to just let things flow effortlessly. A stellar example of his craftsmanship is the opening that circles the Statue of Liberty while following Tess on her journey into the concrete jungle, the feeling of enormity and big dreams is very strong here. You get the best of both worlds with Mike Nichols in the director’s chair; on one hand there is the self-made Cinderella story with oodles of 80’s style and then a witty examination of someone striving to make it big in a cutthroat world of sharks. There are those who will view Working Girl with cynicism for its feel good overtones, mainly stemming from the idea that someone can succeed in this kind of world with simply pluck and intelligence( which I could understand, but don’t think it detracts from the enjoyment of it.) But to think of the film purely like that is to miss the rousing and inspiring nature of it, which will win over even the most dejected and grumpy person, as underdog Tess takes destiny and shapes it for herself. You seriously will find it hard not to laugh, due to the sparkling dialogue from Kevin Wade and screwball tropes that are updated to a world of shoulder pads and big hair, befitting of the 80’s colour and atmosphere. And the romance in the film is thankfully something that doesn’t descend into ridiculousness that could have seriously dragged the film down. In actual fact, it extended the enjoyable factor watching Tess and Jack put their heads together and slowly fall for the other, in a dazzling mix of business and pleasure. Add in parts of significant tension, that can be found as the identity of Tess is frequently nearly revealed, Working Girl is a pleasing winner. Only that it is a tad overlong is an extremely minor blemish on a delightfully mounted and performed comedy that nary puts a foot wrong. Lashings of 80’s glamour cover Working Girl and while it’s easy to scoff at some of the outfits, they actually make a good representation of how clothing makes the person which is something Tess knows all about once her Pygmalion style transformation starts. And no discussion of the film would be worth reading without mentioning the music. Largely based around the rousing Carly Simon song ‘Let the River Run’, the music sweeps you up and brings the feel good to the film in large quantities.

Melanie Griffith is inspired casting for Tess; her airy voice and expressive eyes used perfectly to imbue the part with a strength and occasional vulnerability. Griffith triumphs at making Tess a go-getter who isn’t going to just fall by the wayside and takes events, with a little subterfuge, into her hands and puts her business acumen to good use. You root for the character in her search for something worthwhile and you feel her plucky personality emerge through Griffith’s subtle yet endearing interpretation of the part. And seriously, everyone has to agree that Melanie Griffith looks adorable in this film, right? Harrison Ford contributes an affable and low-key performance as the often bewildered but honest executive, who unwittingly becomes the object of affection for both of the main ladies. Ford is a natural with light comedy and his facial expressions and awkwardness induce many laughs, plus his chemistry with both women is excellent. A tremendous supporting turn from Sigourney Weaver is also worthy of note. Playing the high-powered bitch, Weaver imbues the part with a sly charisma that sucks others in and belies her larcenous and greedy tendencies. Fabulous is the best word to describe Sigourney Weaver here, and even though she is wicked, she makes it looks so devilishly fun through her entertaining portrayal of a grinning shark in a corporate capacity with the shoulder pads to match. Joan Cusack provides countless laughs and wisecracks as the wildly dressed best friend, with nowhere near as much ambition as Tess but a supportive enough outlook for advice and salt of the Earth friendship. Alec Baldwin is here as the ne’er-do-well boyfriend who may be a hunk initially in the eyes of Tess( I mean, does this guy actually own a shirt?) but is a philanderer to put it lightly. In small appearances early in their careers, Oliver Platt and Kevin Spacey catch the eye as a pair of downright sleazy guys.

Sparkling, romantic and amusing, the executive suite comedy of Working Girl makes it a ticket to success and enjoyment from the fantastic Mike Nichols and his cast.