Looks like a B2 Bomber to me.
Indiana Jones 5. It's official.
- Thread starter Kelthaz
- Start date
The stealth bomber from the '80s?
No, obviously that looks more like a WWII era design. Sorry, I don't have the right numbering. It looks to me like it belongs in the Heavy Bomber family, such as the Lancaster.
https://en.wikipedia.org/wiki/Avro_Lancaster
https://en.wikipedia.org/wiki/Avro_Lancaster
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No, I knew that of course. Sorry, I was just being a silly goose while indicating that I needed more info. There's like, a thousand planes that start with B2.
^ Ahh, Ok, no prob! No idea where I pulled that name from in any case! 
That one doesn't seem to have the twin tail though. The one in the clip has a twin tail.
And an extra gunner at the rear by the looks of it.
Yeah, that's what initially threw me to thinking it was an allied Bomber, as the rear end has characteristics of a gunner position.So, I'm glad I'm not the only one who thought so.
The Hollywood Reporter interviewed James Mangold where he has this insight on how to approach Indiana Jones' place in the world and how to juxtapose his film with the previous four:
As one of the few defenders of The Kingdom of the Crystal Skull, I love the contrast from the 30s pulp serials of the trilogy to the 50s B movies of the fourth film, showing the change in style and content of the story. With that in mind, I think Mangold's perspective is an excellent approach to deal with Ford's and Indy's age and how to contrast The Dial of Destiny from the rest of the films.
“The first three Indiana Jones movies took place in roughly the same period,” Mangold notes. “They all easily fit with the serialized, theatrical, almost screwball-action style of the movies that were being released in the period they’re set in. The challenge for [director Steven Spielberg] on [Crystal Skull], and for me on this one, is: How do you move forward into new decades where the world is no longer seen in such clear demarcations of black and white and good and evil? Where the whole concept of raiding tombs and fighting over relics is looked at in a different way? It’s not about changing the story but allowing the character to experience how the world has changed around him.”
Most of the film is set in 1969, when, Mangold notes, America’s heroes were figures such as astronauts rather than soldiers of fortune. “And our perception of politics is more gray,” he adds. “Who’s a villain? Who are we working with? Who are we fighting against? Proxy wars, all of that. It’s not as simple as the era around World War II. What happens to a hero built for a black-and-white world, when he finds himself in one that is gray? It’s a problem that produces humor, produces contradictions, produces adjustments that this character’s going have to make.”
Yet as fans already know, the film’s opening sequence is set back in Indy’s glory days. Ford was de-aged using AI technology and the Lucasfilm’s library of footage from his previous work. Mangold says the sequence isn’t just a fun throwback but provides more meaningful context to the character for the rest of the film.
“It reminds the audience of the contrast between a hero in his physical prime and a hero at 70,” Mangold says. “We’re not relying solely on the audience’s memory of the previous films. It reminds everyone what he’s done, what he’s survived, what he’s accomplished. By showing him in his most hearty and then finding him at 70 in New York City, it produces for the audience a kind of wonderful whiplash of how they’re going to have to readjust and retool their brains for this guy. His past is a live memory for the audience, hanging over a man who is now living with anonymity in a world that no longer cares or recognizes the things he felt so deeply about. You’re left with a multilayered perception of his character, both what he was and what he is, and how the world is different between the first 20 minutes of the movie.”
Most of the film is set in 1969, when, Mangold notes, America’s heroes were figures such as astronauts rather than soldiers of fortune. “And our perception of politics is more gray,” he adds. “Who’s a villain? Who are we working with? Who are we fighting against? Proxy wars, all of that. It’s not as simple as the era around World War II. What happens to a hero built for a black-and-white world, when he finds himself in one that is gray? It’s a problem that produces humor, produces contradictions, produces adjustments that this character’s going have to make.”
Yet as fans already know, the film’s opening sequence is set back in Indy’s glory days. Ford was de-aged using AI technology and the Lucasfilm’s library of footage from his previous work. Mangold says the sequence isn’t just a fun throwback but provides more meaningful context to the character for the rest of the film.
“It reminds the audience of the contrast between a hero in his physical prime and a hero at 70,” Mangold says. “We’re not relying solely on the audience’s memory of the previous films. It reminds everyone what he’s done, what he’s survived, what he’s accomplished. By showing him in his most hearty and then finding him at 70 in New York City, it produces for the audience a kind of wonderful whiplash of how they’re going to have to readjust and retool their brains for this guy. His past is a live memory for the audience, hanging over a man who is now living with anonymity in a world that no longer cares or recognizes the things he felt so deeply about. You’re left with a multilayered perception of his character, both what he was and what he is, and how the world is different between the first 20 minutes of the movie.”
As one of the few defenders of The Kingdom of the Crystal Skull, I love the contrast from the 30s pulp serials of the trilogy to the 50s B movies of the fourth film, showing the change in style and content of the story. With that in mind, I think Mangold's perspective is an excellent approach to deal with Ford's and Indy's age and how to contrast The Dial of Destiny from the rest of the films.
Not fictional, but altered - it's a Heinkel He-111, German WWII bomber, but for some reason they gave it twin vertical tails for the movie.
https://en.wikipedia.org/wiki/Heinkel_He_111
More targets for the gunner.
Yes, we were just talking about that above.
Honestly, if Mutt was removed (or at least recast and written better), and a couple of the stupider moments were gone, KotCS could have been decent, at least if watched with the 50s B-Movie mentality. Its definitely better then Temple of Doom either way, but I think things like Mutt, the fridge, and the fairly weak villain really hold the film down.
That's fair. I honestly didn't mind Mutt so much the last time I watched the film, although I agree he's poorly cast (but I'm not part of the Shia Hate Brigad that's so trendy these days). I love the fridge sequence but I know I'm in the minority on that count so I won't argue that point either. I think being able to move past those two points allows me to enjoy that movie more than most people.
I didn’t mind Shia, I thought he was fine in the probably-thankless role and not unconvincing as the offspring of Harrison Ford and Karen Allen. I also liked the Wild One nod in his first scene.
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