Yeah, that bothered me, too, and then the whole plot line was dropped after that. I groaned the moment I realized he was going to be accused for murder because such plot devices are so trite and rarely utilized well. Didnt help that it didn't even seem to have a purpose here. Thankfully it didn't eat up much time but it was still annoying.One thing that did annoy me. If Indy was wanted for murder how did he get on a plane in NYC?
I have seen twice already. What gets me is that this film cost north of $300 million to make. For this film to succeed, it needs to make at least a billion dollars. Unbelievable.
‘Pulp Fiction’ is different to cinema of the period. Though I wonder if part of the thought in DoD was the later, seventies, chandler adaptations. Anyway.
Of these:
The Good
Soviets — yeah, but hard to tie in, except as done in CS
Chinese — good, except the PRC weren’t really a world power yet, and it’s just not gonna fly with modern film distribution.
The hmmmm
Fortune hunters/Mercs — kind of, if handled well, but again we are back in Lara Croft territory rather than Indy, and again not exactly high enough stakes.
Dictator — again, we’re in Uncharted territory, and doesn’t entirely fit with the cinema of the period. But could work — still not high enough stakes really.
(Both of these are basically eighties movie tropes, Romancing the Stone rather than Indy.)
The nope
Mobsters — outside of of ToD’s opening (and ToD has dated harder than any other) it’s not really big screen Indy fare, except as henchmen to a certain extent. It *could* work, but it’s more than likely it slip slides into being something else. Again, that includes Lara territory, and Uncharted. It would be fairly low stakes again, and trying to organically work out why the Mob wants a thing would possibly short circuit the story. Ultimately, like the Mercs, it becomes about selling it up to the real big bad. Which is the same for many of these.
They just about work, until you start piecing into an Indy story. Ironically, some *would* have worked better with a younger Indy, in stories set in the thirties, but as we are now in sixties, Cold War territory, all the connotations make it harder for them to work I think. The Mob in particular really pulls it into a different direction — Indy doesn’t suit The Godfather.
The main thing that makes it difficult is that Indy isn’t overtly an ‘agent’ of the US or any world power. Not in the films in any meaningful way at any rate. You need a reason for him to be in the story, and you need a reason for the bad guys to be in the story.
Dictator is really the closest to workable, ignoring how it treads into other franchises tropes — one’s put in place to differentiate it more from Indy in the first place usually — it’s only real problem is how to make it matter. City Of Gold type stuff could work, but it’s going to crash into CS stuff. Ironically, this is where the US could be the bad guy, which whilst a *very* interesting story, would not be very Indy. It would absolutely work best with a younger Indy, and we’d end up with something like the equivalent of ‘License To Kill’ over with Bond, or a sort of extension of the original raiders opening.
Basically, the biggest stumbling block is Indy’s age and that late sixties setting, with its particular geopolitics. And if — like Disney — we’re sending the character off, then it coming full circle, and using all those escaped Nazi stories, makes perfect sense. Possibly the best sense.
There is nothing in this excuse that indicates "perfect sense" to me. It simply sounds like an excuse to use Nazis or a Nazi as the main villain. Even in 1969.
I'm tempted to say "so the movie could happen" or "hey shut up."One thing that did annoy me. If Indy was wanted for murder how did he get on a plane in NYC?
I'm tempted to say "so the movie could happen" or "hey shut up."![]()
There is nothing in this excuse that indicates "perfect sense" to me. It simply sounds like an excuse to use Nazis or a Nazi as the main villain. Even in 1969.
I don’t think that matters this time out. It will make its money back over time and merch, and a sequel is not expected. It’s a way we’ve come to judge things, but Disney has so much money that this film could easily be argued to be just there to be there. If nothing else it keeps the brand visible, and that’s that.
One thing that did annoy me. If Indy was wanted for murder how did he get on a plane in NYC?
Yeah, not even a mention. You'd think Indy might note he once had a young sidekick too. Also considering they met in similar circumstances.annoyed we didn't get a Short Round cameo.
Leads me to believe that the ending was reshot as John Williams mentioned. The hard cut to Indy waking up in present day again, the villains having a bland ending. Disney messing around not knowing what they're doing.And both main villains just die in a plane crash? No face-melting? Nothing chopped off by helicpoter blades? It's all too clean
The TSA wasn't a thing in 1969.
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