In skullduggery for gone Hollywood nostalgy, Cowboyish Smile and the Mothership Connection (by WhackoGecko 14.07.2008)
As the newest (we suppose) Indy movie enters soon DVD/Blu-Ray stage its about time for us to make some remarks. Not necessary fans of the serie, being grown merely in the borders of a Lucas-Spielberg cultural fantasy empire, but still kind of liked Indys adventures in the early three movies. As has been elsewhere noticed Indiana Jones films were originally loosely based on some 1930´s B-flicks, at least for the structure and jokes, as Indy´s main outlook was most
inspired by 1954-movie Secret of Incas, Charlton Heston acting as hero adventurer. Several primary real-life inspiration sources for the character has been mentioned, most renown the 18/19th century archeologists Giovanni Battista Belzoni and Hiram Bingham1. One can easily notice, that Indys character was already in the birth fulfilled with almost limitless amount of archeological nostalgia.
The reader might be little disturbed of the fact that here, in the MuleSkinner World, we have not seen but the some 60-70 minutes from the beginning of Indiana Jones and the Kingdom of Crystal Skulls. However, aware of the existence of an early manuscript2 for the movie, originally supposed to be next sequel in Indiana Jones saga, we take the flick mentioned in closer look for a brief passing moment in archeological time-scales. Don´t read any further if you feel it might spoil the fun from watching...
In similar manner as Indy´s archeological roots are at least contradictory (in plea for the adventurers qualities) his heroistic characteistics (romantism, fist-fights, tongue-in-the-cheek) are based on completely false mythical image; that of falsified image of the cowboy, ever so popular in old time westerns since the early days Hollywood until about 1960´s. Also similarly, like cowboys, Indy´s relation to women is also often completely lacking any sexual tone, so popular in nowadays TV-series or the cash-in blockbusters loaded with sexual tension – naturally Indy-films are also kids movies. In spite of that; Indy hardly ever even kisses the girl, if not in the end of the movie.
A timing of the last adventure is somewhat obvious one: 1950´s. That´s not just for the fact that the earlier parts were placed on years close to Second World War and hero should move to an aged state, but also for that Indys kind of romantic-mythical hero would not fit for the post war climate. It is also a notable coincident, that many of his adventures in earlier movies took place at the same part of the Africa continent (North-Africa/Middle-East) as Bogart-Bacall/Bergman war-time classic films Casablanca (1942)and To have and Have Not (1944). Indy´s treasure hunts (in 2 of three first movies)are in search of the grounding artefacts in Christian-Jewish mythologies (Grael/Ark of the Covenant), but Northern parts of the continent also serve as the only at least little mythical area in western hemisphere at the times of 2nd World War. Hollywoods most shining stars in the means of nostalgique, B & B are also placed there as them films were made during war times. For the Indy, magnet for anything nostalgic, the geographic placing is crucial for the mythological needs but also in needs of particular area and time for romanticed adventurer. Hero also needs something nostalgic(from 1980´s perspective) to fight against – mostly the nazis in early Indiana Jones films. In the Kingdom of the Crystal Skulls the enemy is changed to Sovjets, also now a foregone political power and nation and as such usable (as hell) in nostalgical sense.
So, the pre wartimes, afterwards often seen in nostalgic light, but not too much for variety of reasons, namely the happenings of 1940´s, serve as a framework for Indy´s first 3 adventures. He is there at home with similar mythical adventurers like Hugo Pratts Corto Maltese (who often wanders around the same corners of the world as Indy. Corto is also told to disappear in the Spanish Civil War, Indy however goes on). Afterwar, there is no place for such romantic heroes. Reason for that? One can find some answers in developing broadcasting networks, emerging global world trade dominance capitalism, or from just the fact that afterwar nostalgia appears to be totally different from pre-war times. Magic, witchcraft, optimistics, all typical for Indy-movies, more or less gone in post WW2-world. Indy can without problems fit into war-time scenes and action-fights with nazis as both are worth the adventure (in movie-sense), but his appearances in war times really serve to transformate the mythical cowboy image from late 19th century to the brand new age: That of the western civilization fighting against bad guys and decorated at the same time with some archeological mystics of 1920´s. In reality, also notable, the creation of Hollywood was fulfilled in that same decade often mentioned as the last truely mythical one in 20th century.
Typical for cinematic nostalgy characters, the movie cowboy is of course pure falsification (from its origins) and as such completely unbelievable in the real sense of the myth. So is his natural follower, the grave-robber archeologist. Leaving myths aside, Indy, bearing at the same time romantic idealism and all the characteristics of traditional cowboyish adventurer (the whip, the hat, the grin) hardly would fit for the limits expected from a post wartime hero. He is openly selfish, seeks archeological objects for his own pleasures as adventurer and is always in the habit of recklessly wandering from action scene to another, not necessary controlling situations by his sheer presence. The latter quality is naturally partly result from aims of Indy-films in their purpose to have fun on typical style features of the older adventure flicks. But Indy´s character as bearing the dignifying scars of war, the pessimistic melancholic tone or symbolizing the post war unity of the (winning) nations? No way.
So, Indy moves on to his 4th appearance in movies, which is said to happen in 1957. Now mythical powers are there again to make the circumstances bearable. Mythical in a sense that no human being, without extra-natural powers anymore fits into the role of traditional romantic hero so popular in post Second World War Hollywood nostalgia. Timing chosen is as succesful as its obvious: 1950´s, the first (and last) modern mythical decade available for nostalgic adventurers placed on imaginable frameworks of historical situations.
All this nostalgia taken into use for creation of falsified myths, it´s at least satisfying to notice that finally in the latest movie some real myths has been found. The 1950´s nostalgia kicks in, the Aliens, the atomic bomb (as mythical as convincing) are there. Pre war romantic master-archeologist, a little aged but as heroic as ever, is ready to serve the needs for supernatural deeds (CGIs, action-in-the-fast-lane, to name a few typical ones in nowadays movies). If Indy in the film is searching for some ancient artefacts he can´t in any means claim to be justified to, its just to link these mythical objects to the creation of fantasified myths of 1950´s he is actually facing. Certain scenes, like surviving from the mushroom cloud by enclosing in refrigerator, are but funny, but also lot more non-falsified as seen in the qualities of nostalgical needs. The joke (Lucas-Spielberg intentionally created one, the watcher might wonder?) comes from the fact that the real existing "magical" Crystal Skulls hunted have also been proven as modern falsifications.3
Taking the Roswell-connection to bit deeper examination4, its quite rational to ask for why it imight feel such unfitting to have aliens included in Indy-movie? As Indy´s actions and adventures are as unbelievable in the early parts too. Possibly its not kind of kids stuff, but serves well as quest for a truely believable adventure story (as nostalgic fantasy). It can also be noted that concerning Indiana Jones fantasies the extra-terrestrial element is more or less unavoidable (in the movie placed in 1950s), if there is to be any continuation for the archaic religious mythologies used and reused in earlier parts. The alien-human origin myths also serve to support the new transformation of the hero (from dignified archeologics professor/graverobber-wanderer to an aged superhero in the beginning of Nuclear decades.) Not to mention the need for nostalgical falsification of the old mythologies that in reality don´t have much in common with the archeological field, even less with Indiana Jones actions.
So, on the basis of myths, the Roswell connection in the film of the 1950´s is at least as defendable as placing mythical sacrifising ceremonies from distant times in the prevailing war years (three first Indy-movie sequels were situated in the years 1935-1939; see Wikipedia). Perhaps one of the most cashable modern myths(meaning the X-files and similar series based on rumours surrounding the Area 51), is also chosen for the main subject of coming next movie (if there will be any). That being the case also because it would be quite hard to imagine anybody else than Harrison Ford acting the role of Indy ? Or perhaps the dice is already cast, and we can give up hoping for more non-falsified true nostalgia...perhaps we are even doomed to see a brand new actor taking the role of Indy in the early adventures on the search of the unknown origin of Crystal skulls...as created by a mythical pre-European contact headhunter tribe inter-married with Alien Conquistadors? Hopefully not...
Notes:
1. Comparison to Indy´s main real-life models is interesting for the fact that the wanderer Bingham ´originally´ found (or at least brought to wider public acclaim) the lost city of the Incas, Macchu Picchu. Belzoni was an explorer, a pre-runner in ´archeology´ at his times, best known for first locating the entrance to the great pyramid of Giza. See Wikipedia. In Belzonis times there was not really any real difference between archeology or methods nicely described as treasure hunting the (valuable) artefacts in old tombs. As well-known, Indy´s doings on archeological field are much of the same.
2. Known as Indiana Jones and the City of Gods (F.Darabant/G.Lucas), an early manuscript rejected in 1990´s. As one might easily notice, it is rather coincidence that the unused script should have been given the name commonly used as translation for Aztec-city Teotihuacan (in fact more correct translations suggested are as ´birthplace of the gods´ or ´place of those who have the road of gods´, see Wikipedia) which is, still used in contemporary language when meaning that particular city. The grounding and rulers of Teotihuacan have remained quite mystery, which explains the usefulness of the name of the place in nostalgic recycling of its mythical means (as re-creating the Indy-Hollywood mythologics).
3. Rincon, Paul, ´Crystal Skulls are Modern Fakes´, on 23.5.2008; Also noted on this blog: WhackoGecko, ”Newspost#2505” on 26.5.2008.
4. Roswell incident has inspired a multitude of films, series and of course books. Indy´s connections to the episode are, of course, mainly influenced by the UFO-myths connecting alien races to the beginning of first ancient cultures and civilizations (in North/South Americas prehistory). Also, widely noted is naturally the connection between the founding place of the crystal skull, carved lines on the ground of desert in Peru by the ancient Nazca-civilization. Nazca-culture has been most widely popularized with UFO-mysticism by Erich von Däniken et his followers.
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