Many of us are children of the 80s. What a great decade for cinema! If we look back 40 years, the year 1984 is no exception and brought us films like »Ghostbusters«, »Terminator«, »A Nightmare on Elm Street«, »Gremlins«, »The NeverEnding Story«, »Beverly Hills Cop« and »Indiana Jones and the Temple of Doom«, which celebrates the 40th anniversary of its US theatrical release today.
After »Raiders of the Lost Ark« in 1981, this was the second Indiana Jones film and it was the first time that Steven Spielberg made a sequel, or rather a prequel, because the film takes place a year before the story of the Ark of the Covenant. And Spielberg wouldn't be Spielberg, if he hadn't done many things completely differently than in the previous movie. Instead of copying himself, he dared to do a lot of new things. And so the film became a lot darker than its predecessor.
Looking at the reception of the original trilogy, the »Temple of Doom« did worst. It was also controversially received by large parts of the audience due to its depiction of violence. Child slaves and a torn out, pulsating heart was simply too much for many parents when they went to see the flick with their kids and expected entertainment for the whole family. The film led to the introduction of the PG-13 category in the MPA film rating system. In India, the film was even banned for a while due to its negative portrayal of the country. And Spielberg himself also considers the film to be the weakest of his four Indiana Jones films. For him, the best thing about the film was that he met actress Kate Capshaw during filming, whom he has been married to since 1991.
But let's be honest, even if the film doesn't quite live up to »Raiders of the Lost Ark« and »Indiana Jones and the Last Crusade«, it is definitely better than »Indiana Jones and the Kingdom of the Crystal Skull«. We think Steven is judging himself a bit too harshly. The first 20 minutes of the film alone provide such a breathless tour de force that makes the majority of modern action films pale in comparison. And many filmmakers would certainly be happy if they were able to pull off such a masterpiece.
Here we are experiencing a directorial work by Spielberg in which he doesn't have the editing room in mind and we like this lack of compromise, where violence can also be entertainment. The film represents a turning point in Spielberg's work. Although there are depictions of violence in his later films, they are always much less drastic and embedded in a more serious context.
We love Indiana Jones. The man with a fedora and a whip is one of our great cinema heroes from one of the most exciting decades of cinema - a love that is also reflected in many great collectibles:
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