19 anos se passaram entre “A Última Cruzada” e este “O Reino da Caveira de Cristal” - na contagem, o quarto longa do arqueólogo-mor mais famoso das escavações cinematográficas. Quase duas décadas separam as duas pontas. O ontem e o agora. Apesar das (óbvias) rugas e fios brancos inexistentes na construção da trilogia original, o triunvirato, Spielberg, Lucas e Ford reuniu-se novamente para (surpreendentemente, até) registrar a proeza de um improvável lapso temporal. O lendário trio regressa retorcendo o tempo para nos mandar novamente para o universo mitológico desenvolvido por eles em “Caçadores da Arca Perdida” - isso, sem que notemos os anos transcorridos desde que o chicote e o chapéu característico surgiram pela primeira (ou seria última?) vez. Numa mágica real (cientificamente conhecida por “exercício estilístico”) que resgata da aposentadoria um dos mais queridos-simbólicos heróis da Sétima Arte.

Filmado como se estivéssemos na década de 80, “Indiana Jones” sustenta a idade avançada sem perder a força extraída de suas aventuras iniciais. Harrison Ford, no alto dos seus respeitabilíssimos 65 anos, reafirma o discurso daqueles que lhe imputam o título de “grande ator norte-americano”. Sem forçar nenhuma barra, esconder a data de nascimento ou pintar os cabelos, Indy demonstra estar em forma. Mantendo o mesmo carisma de sempre. Protagonizando as mesmas inconfundíveis peripécias de antigamente. Num elevado grau de vivacidade, suficientes para lamentarmos a (angustiante) longa espera para vê-lo novamente (em altíssimo nível) nas grandes telas.

Em parte, o sucesso da empreitada se deve a teimosia low-tech do diretor Steven Spielberg, entusiasta dos “tacanhos” mecanismos analógicos usados (principalmente) nos períodos pré-jurássicos da computação gráfica. Sem ceder totalmente ao mundo criado pelas CGs, o cineasta entrega um produto no mesmo patamar visual/técnico de suas três contrapartes oitentistas. Numa ousada homenagem - em tons nostálgicos - capaz de contentar os saudosistas/puristas fãs de Indiana. Inusitadamente, os piores momentos do presente capítulo aparecem (justamente) quando os efeitos especiais (digitais) assumem o lugar da pirotecnia artesanal. A cena “Tarzan” de Shia LaBeouf (fazendo o papel de “ponte” para os “novatos”) balançando-se entre cipós e seres virtuais é vergonhosa de tão maneta, destoando totalmente da proposta permanente (majoritariamente) no restante da película.

Isso não significa, contanto, um descaso às técnicas atuais. Usadas em bom número ao longo do próprio título. Apenas representa um desejo de ver o Dr. Jones protagonizando as mesmas perícias “humanas” já consagradas na história do cinema. Eternamente.

História que ganha novos acordes, se a saga do “pacato” professor sempre buscou inspiração nas matinês aventurescas da década de 30, agora, a inspiração advém dos “filmes B” produzidos nos anos 50. Um período (condizente, aliás, com a data onde o enredo deste “Indiana” se encaixa) marcado por conspirações, segredos e o surgimento de um novíssimo “inimigo”, os cruéis russos (capitaneados pela excelente atriz Cate Blanchett). Elementos aproveitados/necessários para encaixar a trama proposta por George Lucas, (também) teimosamente insistindo num argumento que dificilmente ganharia vida de outra forma (vide as indefinições que atravancaram - anualmente - o projeto, atrasando o desenvolvimento do filme enquanto não houvesse uma aprovação consensual quanto à idéia - envolvendo as tais misteriosas “Caveiras de Cristal” - lançada/bancada pelo bendito criador de “Star Wars”).

Referências clássicas (envolvendo sons, música e fotografia mimetizando adequadamente os episódios passados) finalizam um trabalho atemporal, capaz de brindar o expectador com uma incursão total no material bruto adorado por eles. Ok. As coisas não saíram (totalmente) perfeitas. O “mistério” que move o plot central não empolga como empolgava a busca pela Arca da Aliança (aparecendo de relance, bem no final do prólogo) - as informações “seguindo o tesouro perdido” quase sempre são confusas e contraditórias (alguns erros geográficos - apontados exaustivamente pela mídia - quase acabaram com a “veracidade” desta “fantasia”). Nem a ação mantém sua sabida qualidade numas (poucas) passagens desnecessárias. Mas tudo fica de lado quando sobe o tema imortal (EBA!!!) de John Williams. E Indy aparece para salvar o dia. Novamente. Ao seu melhor estilo. Bem “as antigas”. Né, Spielberg?

Wajahat Ali

**1/2 (Two and a Half Stars)

"How much of human life is lost in wait," muses a character towards the end of the highly anticipated, twenty years in the making Indiana Jones and the Kingdom of the Crystal Skull.

Although I lack the wisdom to answer the philosophical question, after watching the premiere of the sequel, however, I can say much of the original wit and frenetic energy of the series is lost in a muddled and confused screenplay.

Before you hurl violent and colorful language in my direction, please note this humble reviewer can confidently recommend the movie as an overall enjoyable and rather entertaining, if disappointing, successor to one of the most beloved adventure series in modern cinema.

A movie like Indiana Jones cannot be judged by any ordinary critical standard precisely due to its immensely influential and universally beloved cultural status as an apex of escapsist entertainment. Who doesn't recognize Harrison Ford in that famous fedora cracking his whip while outrunning nefarious Nazis? Who can't hum John Williams' catchy theme? Who hasn't seen at least one of the three Indy movies? Precisely due to the twenty year anticipation and the elevated benchmark of Raiders of the Lost Arc, a new Indiana Jones movie has to be more than a simple National Treasure or Mummy retread.

George Lucas, wisely learning from his Stars Wars prequels, urged all to "lower their expectations" and to remember that Indy Jones is "just a movie." Audiences would be prudent to heed his wisdom.

Rest assured, however, that the main attraction, Harrison Ford, fits as comfortably in the title role as he did nearly 20 years ago. Ford's charisma, which audiences haven't seen in nearly ten years due to his disastrous film choices, dominates the movie and makes you forgive the laborious and disjointed screenplay by David Koepp. From the moment he appears on screen (within the first 3 minutes), the filmmakers remind you even though the man has aged, he still retains his wry athleticism and surly, wise-ass barbs.

The plot involves some ridiculous mumbo jumbo about returning a rare and powerful "crystal skull," which may or may not have alien origins, to its "rightful" place comfortably hidden in an exotic and perilous Peru jungle. Too bad that the script feels it necessary to spend painfully long stretches of screen time on dull and convoluted narrative exposition that simply forces characters to explain ridiculous plot mechanics that the audience neither understands nor cares about. Furthermore, Koepp's screenplays unsuccessfully attempts to stitch together different genres, tones and moods, but is unable to unite them elegantly under a unified theme or coherent narrative. Each Indiana Jones movie has some sort of a central dramatic arc: the first one was anchored by the Indiana Jones-Marion Riverwood relationship in thwarting "evil," the second had Indy selflessly liberating innocent slave children from a tyrannical Kali-cult, and the third stressed reconciliation between father and son.

The new one appears to stress a "return" to one's true passions and roots, a full circle allowing Indy to learn from his past mistakes (certain unrequited "romantic" choices and family legacies) and embrace that reckless curiousity and daredevil adventurism of his youth. Unfortunately, these themes take far too long to emerge in a truly invigorating and exciting fashion. Indy Jones movies are beloved precisely because they move; they are relentless in their energy, irregardless of the inanity of the logic, plot or dialogue. You forgive the garish cariacatures and violence of Temple of Doom mainly because you're fascinated by the sheer audacity and lunacy of the proceedings. You forgive the tongue in cheek "jokey" tone of The Last Crusade because of the wonderful chemistry and sense of fun developed by Sean Connery and Harrison Ford. Boredom and stasis are absolutely unforgivable in any Indy Jones picture.

About an hour into the movie I actually wrote down "boring" during another dull, exposition patch where nothing happens, and what does happen lacks any sense of urgency, danger or excitement: it reminded me of scenes from the perfunctory Da Vinci Code.

The first hour and twenty minutes of the movie are hodgebodge and, dare I say, intermittently dull. Shia Lebouf's introduction as Mutt at least introduces a sparkle of energy in the entire proceedings. His youth and arrogance is a foil for the elder Ford to get in some great cantankerous rants and quips. Thankfully, the introduction of another character (you should have guessed it by the ads) finally establishes the tone and relationships in the movie as a sort of "Indy Jones Family Adventure." From that point onward, the last 40 minutes are an injection of old school Spielbergian cinematics highlighted by an excellent, but at times too hokey and CGI dependent, jeep chase sequence. We also meet voracious, killer red ants, a giant snake, fencing heroes atop of CGI jeeps, an obligatory Indy fist fight sequence, and a rather silly and protracted ending which reveals the origins of the mysterious Crystal Skull.

If it seems I'm too harsh on the movie it's because I love my Indiana Jones movies. I've seen all of them nearly a dozen times. I have fond memories of being horrified and fascinated by monkey brains when I was 4, and I recall dragging my uncle to the Last Crusade when I was 9. To this day, Raiders remains one of the best and perfectly executed examples of the action adventure genre with all principles hitting key notes. I just wish the screenplay would've been given another two or three edits to streamline the unnecessarily complicated and dull plot, amp up the tension, and create a more unified vision and theme.

As it stands, this is the weakest entry of the series. That being said, it's a thrill to see Ford coming back to his signature character. Despite the film's glaring problems, you can't help but feel giddy knowing you've revisted one of cinema's most beloved icons.

TWO AND A HALF STARS. [Enjoyable but disappointing]

Trzymamy za słowo :)

Szczegóły i zwiastuny:

reżyseria:     Steven Spielberg

scenariusz: David Koepp i George Lucas

obsada: Harrison Ford, Cate Blanchett, Ray Winstone, Shia LaBeouf

zdjęcia: Janusz Kamiński

produkcja : przygodowy, USA, 2008

budżet: 125 mln dolarów

długośc: 123 min

Kino Kijów:

Na wszystkich miłośników Indiany Jones czekają konkursy i atrakcyjne nagrody związane z filmem.

Sala duża:

21 maj: godzina 20.30

22 maj: godzina 13.00 , 15.30 , 18.00 , 20.30

Multikino:

21 maj godzina 20.00

Zwiastun:

so minabuti kong hanapin ang TV spot na ginawa nitong "so called friend" nya.... sabihin nalang nating di talaga nila kayang gayahin ang pinsan kong magaling.. pati nga itong si Harisson Ford na nag karakterize sa kanya, ay di talaga makuha ng 100% ang kanyang karakter.... sino ba naman tong isang "kebigan" na to..

basta iba talaga ang pinsan ko.... walang may kayang gumaya sa kanya...

mabuhay ka Indy Jones!...

*at sa mga nagtataka, eto ang TV spot ng kebigang gumaya sa kanya.. sad to say di nagtagal ang TV ad, at pati ang produkto.... natumba at nalugi...