Astoundingly, the fifth Indiana Jones film, Indiana Jones and the Dial of Destiny (Mangold, 2023) is due to release later this month. To mark the occasion, I’ve been dedicating every Sunday to revisiting the movies that made him a household icon in addition to some bonus Indy content on Wednesdays.

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Released: 24 May 1989
Director: Steven Spielberg
Distributor: Paramount Pictures
Budget: $48 million
Stars: Harrison Ford, Sean Connery, Alison Doody, Julian Glover, John Rhys-Davies and Denholm Elliott

The Plot:
Famed archeologist and adventure-seeker Doctor Henry Jones Jr. (Ford), better known as “Indiana Jones” (or simply “Indy”), begrudgingly teams up with his eccentric father, Professor Henry Jones, Sr. (Connery) to search for the mythical Holy Grail before it falls into the hands of Nazi forces.

The Background:
The brainchild of George Lucas, Indiana Jones was a concept first thought up after filming wrapped on American Graffiti (Lucas, 1973). Inspired by pulp serials, Lucas was initially forced to shelve the project in favour of Star Wars: Episode IV: A New Hope (ibid, 1977) but eventually teamed with Steven Spielberg, Lawrence Kasdan, and Harrison Ford to brave the sweltering temperatures of Tunisia for Raiders of the Lost Ark (Spielberg, 1981), a critical and commercial hit that kick-started one of cinema’s most influential franchises. Its success took Lucas on step closer to his goal of a trilogy of films; however, the sequel (which was actually a prequel) attracted mixed reviews and controversy for its darker aspects, which contributed to a re-evaluation of film ratings. Yet, Indiana Jones and the Temple of Doom (ibid, 1984) was still one of the year’s highest-grossing movies and is often regarded as a cult classic, and the three joined forces for a third entry in 1989; originally conceived of with a haunted house premise, the plot shifted focus towards the legendary Holy Grail. Spielberg, however, was unconvinced, leading to a Chris Columbus-penned script focusing on pygmies and the Monkey King that also dissatisfied the director, who then suggested introducing Indy’s father and using their strained relationship as a thematic parallel to the search for the Holy Grail. Though initially turning down the role as he was only twelve years older than Ford, the late Sean Connery relented and significantly contributed to the characterisation of the elder Jones so he could be a match for his adventuring son. The most significant of Connery’s suggestions was a prologue that established many of Indy’s character traits, a complex and action-heavy scene involving a specially rigged train and a pit partially filled with live snakes. Equally complex was the temple set used in the finale, which was built on hydraulics and gimbals and took twenty minutes to reset for each take; Industrial Light & Magic returned to work on the film’s special effect, utilising clever camera techniques to compensate for the limitations of a tank, the Grail trials, and a combination of make-up and animatronics for the villain’s iconic death scene. With a box office of nearly $475 million, The Last Crusade was the most successful of the original trilogy; critics were largely unanimous in praising the film for returning to the light-hearted roots of Raiders and the humorous and heart-felt relationship between Indy and his dad. The film is generally regarded as the best of the series and it directly inspired a spin-off television series depicting Indy’s youth, but wouldn’t be the last time we’d see Indy on the big screen as, inexplicably, the franchise was revived for a disastrous fourth entry nearly twenty years later.

The Review:
As exciting and captivating as two previous Indiana Jones movies were, we really didn’t learn all that much about the title character; we know he’s a learned professor of archaeology, extremely capable in a pinch, has a shady past when it comes to his reputation and romances, and that he’s made both allies and enemies over the years but there was no sense of his specific background. This mystery was, honestly, a big part of Indy’s allure; there was a roguish quality to him, a subtle complexity that drives his search for lost artefacts n the name of both “fortune and glory” and preserving them for the benefit of others…and the growth of his wallet. Each movie touched upon different aspects of this and his past, with him having left Marion Ravenwood (Karen Allen) broken hearted, him having a cheeky kid sidekick, and seeing him walk a fine line between mercenary and patriot through dialogue, allusions to his past, and just the way he carried himself with both confidence and experience, and yet still being able to adapt on the fly when thrown off by the presence of real magic.

The Last Crusade immediately seeks to delve further into Indy’s character than ever before, however, by opening in 1912, where we find  young Indiana Jones (River Phoenix) as a budding thirteen-year-old Boy Scout. While exploring the caves at Arches National Park in Utah, Indy and his nervous friend, Herman Mueller (J.J. Hardy), stumble upon a group of grave robbers just as they unearth the fabled golden crucifix of Francisco Vázquez de Coronado. Even at a young age, Indy was outraged at the thought of such an important artefact being sold for profit; so much so that he charges Herman with going back to raise the alarm and takes it upon himself to swipe the cross when the robbers aren’t looking. The grave robbers are led by an unnamed individual in a fedora hat (Richard Young) whose entire look Indy would come to adopt as an adult; he’s got the chinos, the jacket, the rugged good looks, and is so impressed by Indy’s gusto that he gifts him his trademark hat after retrieving the cross through more manipulative means. If you ever wondered why Indy is afraid of snakes, this sequence also has you covered; despite initially tossing one away without a second thought, Indy was traumatised when he came face to face with a hissing serpent on a circus train and then took a dive into a literal pit of the slithering reptiles during his dramatic escape. Crucially, this opening shows Indy’s adaptability, moral integrity, and touches upon his tumultuous relationship with his father that is such a focal point of the movie. In the space of about twelve minutes, this opening sequence examples how trouble just seems to find Indy, and that he’s not some invulnerable action hero; he takes a pratfall while escaping on his horse, accidentally slices open his chin with a bullwhip, and crucially is outsmarted by a combination of his youthful exuberance being a constant headache for his father and the authority wielded by adults.

When we jump ahead to 1938, we find the now-the adult Indy finally achieving his lifelong dream of recovering the Cross of Coronado from the robber’s Panama-wearing client (Paul Maxwell), which brings him not only the gratitude of his university colleague, Marcus Brody (Elliott), but also a great deal of closure. Indy is then approached by wealthy businessman Walter Donovan (Glover), a man with a “passion for antiquities” who has contributed generously to Indy’s university over the years. Donovan possesses a stone slab inscribed with Latin text that acts as a map and a guide to the legendary Holy Grail. It’s here where we get a glimpse of why Indy is always so quick to scoff at legends and superstition; not only have countless men died in the pursuit of such stories, but Indy’s father also dedicated his entire life to the pursuit of the Holy Grail at the expense of showing his son any affection, and Indy there for views the Arthurian myth and the search for eternal youth as an “old man’s dream”. Indy is stunned to learn that his father, a “bookworm” with no interest or experience in field work, was not only actively working with Donovan but has also vanished in the process; finding his father’s house ransacked, Indy recovers Henry’s Grail diary and sets out to pick up where his father left out in a bid to rescue him and discover whether the Holy Grail truly exists. Marcus, revealed to have been a close friend to Henry, accompanies Indy on his globe-trotting adventure. Although the bombastic Sallah (Rhys-Davies) tries to help Marcus, the blundering academic is quickly taken hostage; however, Sallah is able to lead the Jonses to him and even accompanies them to the Grail’s location. Indy also runs afoul of the Brotherhood of the Cruciform Sword; led by Kazim (Kevork Malikyan), this secret society is so dedicated to protecting the Holy Grail that they’re willing to die, which they ultimately do when they’re utterly decimated by the Nazi’s superior firepower.

As mentioned, Indy has a strained relationship with his father stemming back to his youth; as a child, Indy always resented that his father was constantly buried in his research into the Holy Grail, to the point where he barely seemed to acknowledge his son. This bitterness was only exacerbated when Henry could offer no comfort for their shared grief over his mother’s untimely passing and runs so deep that Indy preferred to take the name of the beloved family dog rather than be associated with his famous and inattentive father, and consequently Indy is confused when Henry sends him his life’s work and goes missing while working in the field. Henry’s diary contains all of his knowledge and findings about the Holy Grail, including maps, pictures, rumours, writings, and vague musings. Indy is quickly able to decipher it to follow in his fathers footsteps and pick up where he left off, completely unaware that Henry sent the diary to him to keep it safe and in the hopes that he would do the exact opposite. Thus, when Indy is betrayed by Henry’s beautiful colleague, Elsa Schneider (Doody) and left to die, Henry is disappointed and outraged to learn that Indy brought the diary with him and unwittingly helped the Nazis discover the Grail’s resting place. Indy and Henry’s relationship throughout the film is framed by awkwardness and comedy; the aloof professor smashes a vase over his son’s head after mistaking him for a Nazi, constantly carries his briefcase and umbrella, and seems continuously nonplussed, if not aggravated, by Indy’s more adventurous and violent lifestyle. Indy’s usual bravado falters around his father; he regresses somewhat to a childish state, referring to henry as “Sir”, being irritated by Henry’s insistence on calling him “Junior”, and constantly aggravated by his father’s obsession with the Holy Grail and refusal to acknowledge that he wasn’t the most loving father. In contrast, Henry believes that he taught Indy self-reliance and respected his privacy, the very tools which have made him the man he is today, and is quick to brush aside Indy’s plea for a more traditional father/son relationship to focus on the more pressing task of reaching the Holy Grail before the Nazis. Like Henry, Marcus isn’t accustomed to field work and quickly becomes the bumbling comic relief of the movie; far from being a detrimental aspect of the film, though, this results in one of my favourite sequences where Indy resolutely hypes up Marcus as being a capable and formidable adversary, only for us to see that he’s hopeless in over his head amidst the crowded streets of İskenderun and to learn that he once got lost in his own museum!

Indy and Marcus are met in Venice by Elsa, an Austrian art professor who immediately catches Indy’s eye. Having worked closely with Henry throughout his investigation, she appears devastated at his disappearance especially as he had recently become uncharacteristically excited by his findings and continuously notes the similarities between the two Jonses, much to Indy’s dismay. Though angered to find that he didn’t trust her with Henry’s diary, Elsa eagerly (and practically literally) jumps at the chance to get intimate with Indy after their rooms are ransacked and dutifully plays the part of Indy’s assistant when he adopts the questionable guise of a Scottish lord to infiltrate Castle Brunwald, a Nazi-controlled castle in Austria. Indy quickly becomes besotted by her and this, as much as his animosity towards his father, leads to him being easily betrayed by Elsa, who claims the diary for her Nazi superiors, represented by brutal Schutzstaffel colonel Ernst Vogel (Michael Byrne). However, when Indy confronts her in Berlin, we see that Elsa is distraught by their xenophobic and violent ways and simply covets the Holy Grail for her own selfish ends. Thus, like in Raiders of the Lost Ark, the Nazis are used as a means to an end and essentially portrayed as bumbling, glorified henchmen for Indy to shoot, beat up, and embarrass at every turn. Initially introduced as an affluent businessman who desires to locate the Holy Grail and realise every man’s dream of eternal youth, Donovan is well versed in Grail lore, such as its discovery by three Knights of the First Crusade. While Indy scoffs at these bed time stories, he is intrigued and impressed to find that Donovan not only possesses the incomplete Grail slab but also an elaborate manuscript that proves the stories are true. Having worked with Henry in a bid to uncover the Grail’s location, Donovan desperately turns to Indy to complete the quest for the benefit of all mankind but, in actuality, uses both the Jonses, and the Nazis, and even bribes the sultan of Hatay (Alexei Sayle) to realise his dreams of immortality and everlasting youth.

The Nitty-Gritty:
Indiana Jones and the Last Crusade is a u-turn back to the free-spirited adventure and quirky action/comedy of Raider of the Lost Ark; perhaps, in some ways, too much of a u-turn. Not only is the title font now the same as in Raiders, robbing us of the more stylistic Indy logo, but Indy is seen back in the classroom teaching a bunch of lovestruck teenagers before he’s joined by Marcus, who asks all about his latest escapade, and his conscripted into going off on another adventure, just like in Raiders. Interestingly, Indy’s lesson paints archaeology as a decidedly dull profession, where he downplays clichés and excitement of the profession and urges his students to do their research rather than gallivanting across the world despite the fact that this is exactly what he does; the movie even makes this a bit of a joke as, despite Indy’s assurances, X very much does “mark the spot” later in the narrative. As someone who actually enjoyed the darker aspects of Temple of Doom, and how it offered something a little different to the franchise, it is a little disappointing to see The Last Crusade go back to the Nazis and hit many of the same beats as Raiders of the Lost Ark but, thankfully, there’s enough here to make it stand out on its own, not least in the extended opening that shows us Indy’s childhood and the most elaborate action sequences of the franchise so far, but crucially in demonstrating the relationship between Indy and his father.

This relationship is what really sets The Last Crusade from its predecessors and, in my opinion and the opinions of many, makes the film the most enjoyable of the franchise. Who out there can’t relate to trying to earn the respect and attention of their parents, after all? Indy has been striving for this his entire life; even s an adult, he just wants his father to show him some warmth and love but he’s constantly playing second fiddle to his obsession with the Holy Grail or his admiration for antiquities. Even when tied to a chair, the Jonses cannot help but bicker with each other as Henry chastises his son’s foolishness and Indy desperately tries to escape their bonds, only for his father’s clumsiness to cause the room to catch fire! Still, it’s fun seeing Indy put together the vague clues in Henry’s diary, which lead him to desecrate a church (that’s been revamped into a library) to uncover the tomb of a Grail Knight beneath the beautiful water-logged streets of Venice and complete the Grail slab. While Henry’s diary makes it clear just how close he was to uncovering the Grail’s location, he’s still thrilled and even gives Indy praise for finding the tomb and the starting point for the trail to the Grail, the ancient city of Alexandretta. Henry may be aghast at Indy’s penchant for violence and lacks his son’s more physical attributes, often taking the role of an inept hostage or accidentally trigging hidden doors or damaging their plane with erratic gunfire, he’s never short of a biting remark or a disapproving scowl at Indy’s “intolerable” actions. However, he shows a spark of capability when he sends a flock of birds flying into a Nazi plane using his umbrella and gets his hands dirty to rescue Marcus from Donovan’s tank, and is also revealed to be just as much of a ladies’ man as his son since he also shared a bed with Elsa.

In addition to detailing how every recognisable element of Indy came to be, the opening doubles as an exciting action set piece as young Indy is chased by grave robbers to a circus train, resulting in a thrilling chase across the rooftops and through the carriages of a circus train and some close encounters with giant reptiles, an enraged rhino, and a voracious lion amidst the threat of being shot and stabbed. Even as a youth, Indy showcased an admirable fighting spirit; though outnumbered and outclassed by the grave robbers, he was still able to steal the Cross of Coronado from them, got in a few good shots, and temporarily outwit them. While retrieving it as an adult, he’s become adept at using his surroundings to his advantage in a fight, even when fighting in the midst of a raging storm at sea, and at swinging about with his whip. The Last Crusade takes Indy into the heart of Nazi Germany, where he comes face-to-face with Adolf Hitler himself (Michael Sheard), and sees him hilariously masquerading as a ticket attendant aboard the Nazi’s impressive blimp (after). This also results in a riveting chase sequence that sees Henry bungle their escape via biplane and Indy outracing the German fighters in a car. Perhaps the film’s most thrilling action sequence involves Indy chasing after a massive tank on horseback. Despite the insurmountable odds, Indy is able to jam the tank’s cannon, guns down three soldiers with a single shot, and goes toe-to-toe with Vogel atop the tank as his men are crushed underfoot. This sequence again reinforces Indy’s vulnerability as he’s constantly swarmed by armed soldiers, almost crushed against a canyon wall, and appears to go tumbling over a cliff edge along with Vogel and the tank in an amusing fake out that doubles as a poignant moment where Henry finally (if briefly) shows some love and affection for his son.

Thankfully, not all of the darker elements of the franchise have been excised; the walls of the Grail Knight’s tomb are filled with skeletal remains and the sewer-like catacomb is populated by mewling rats, recalling the bug-infested tunnel of Temple of Doom but the most disturbing effect is saved for the finale. Thanks to Henry’s diary, Donovan and Elsa are able to reach to the Canyon of the Crescent Moon, where temple where the Holy Grail is guarded behind three trials. Lacking the preparation and knowledge to best these tasks, Donovan’s soldiers are unable to keep from being beheaded by the temple’s boobytraps, so Donovan mortally wounds Henry with a gunshot to force Indy to venture inside and lead them to the Holy Grail. Once again forced to acknowledge that mysticism is all-too-real, Indy desperately relies on his father’s research to guide him through: realising that a penitent man kneels before God, Indy is able to narrowly avoid being diced by a series of buzzsaws; Indy then steps on the correct floor tiles to spell out God’s true name, though he almost falls to his death when he forgets his Latin alphabet. Finally, Indy faces a literal leap of faith when confronted with a large chasm; though he willingly takes the plunge, he’s stunned to find the path is an optical illusion that leads right to a chamber filled with dozens of different chalices and guarded by an aging Grail Knight (Robert Eddison). Donovan and Elsa follow and are captivated by the treasures; out of spite, Elsa picks an ornate golden chalice that more than meets Donovan’s expectations, but his elation turns to horror when drinking from it causes him to rapidly and agonisingly age into a howling skeleton. Indy chooses far more wisely by selecting a modest cup, which he successfully tests on himself before using to heal his father; a passing line by the Knight reveals that the Grail cannot pass beyond the temple, potentially explaining Henry’s later death and Indy’s lack of everlasting youth in future films. However, Elsa cannot give up her obsession, causing the temple to crumble apart around her; in her desperate desire to claim it for herself, she falls to her death and Indy briefly comes close to suffering the same fate when he’s left dangling precariously with the fabled chalice within reach. He’s talked away from the brink by this father, who touchingly refers to him as “Indiana” for the first time, saving his life, realising Henry’s lifelong dream, and repairing the rift between the Jonses through their shared experience.  

The Summary:
I may have some issues with how Indiana Jones and the Last Crusade regresses the narrative and direction of the franchise in some ways; it takes maybe a few too many cues from Raiders of the Lost Ark at times, which is a little disappointing, but I think it benefits from being the third entry. If it had been the second, these elements might have stuck out as being more derivative but, luckily, The Last Crusade takes everything that worked in the last two films and expands upon them in exciting and unique ways. It might be a little unbelievable that all of Indy’s most important experiences occurred on one Boy Scout expedition but this glimpse into his adventurous youth, but it really helped to show how his attitude and personality was shaped by his childhood. Of course, the heart of the film is the adorable and intricate relationship between Indy and his father. An aggravating authority figure who grates on Indy’s last nerve, the chemistry these two serves is the selling point of this movie and it’s fantastic to see new nuances added to Indy’s character through his interactions with Henry. They’re bumbling adventures with the Nazis are so much fun that I could honestly watch these two get into all kinds of scrapes and go on further adventures, which sadly wasn’t to be but really elevates The Last Crusade above its predecessors while staying true to their pulp origins. Although not as dark as the second entry, The Last Crusade more than makes up for it with some fun action sequences, elaborate boobytraps, and a truly horrific final fate for Donovan. Ultimately, while the three classic Indiana Jones films all have appealing factors and each one is great in its own way, for me The Last Crusade edges out the other two thanks to the efforts of Harrison Ford and Sean Connery and remains the standard barer for the franchise even now.

My Rating:

Fantastic

Is Indiana Jones and the Last Crusade your favourite of the series? What did you think to the chemistry between Harrison Ford and Sean Connery and the relationship between Indy and his father? Did you see Elsa and Donovan’s turn coming and what did you think to the Nazis returning as antagonists? Which of the film’s action set pieces was your favourite? Did you enjoy the opening sequence and the look into Indy’s childhood or was it a little unbelievable for you? Do you think you would’ve been able to best the trails and select the correct Holy Grail? Would you have liked to see more from Henry in a fourth movie and did you think he and Indy had been gifted with eternal youth? Whatever you think about Indiana Jones and the Last Crusade, feel free to share your memories of Indiana Jones in the comments or on my social media.