# Indiana Jones And The Last Crusade (1989) | Ep. 52 - Part 1

An episode of [All The Right Movies](https://invisiblenetwork.ai/podcast/1471502633), 24 Jan 2025, 1 h 16 min.

Audio: https://traffic.megaphone.fm/APO7419904540.mp3

After one beloved adventure and one notoriously darker sequel, the brief for the third was simple: send the series out on a high. Luke, Westy, and Matt begin the story.In Part 1 we cover the film's opening, director Steven Spielberg, the cast, and the second act — including the masterstroke of casting Sean Connery as Indy's father, the young River Phoenix prologue, and the chemistry that powers the whole film.The Grail's still out of reach, and so is the third act. Part 2 closes in: crew, finale, reception, legacy. Available now. Connect with ATRM: To support what we do, access our archive and listen to exclusive episodes, become an ATRM patron: Listen on Patreon Listen on Apple Podcasts Listen on Spotify Twitter/X: @ATRightMovies YouTube: Subscribe to our channel Instagram: @allthe_rightmovies Threads: @allthe_rightmovies Facebook: Join our movie group Bluesky: @alltherightmovies.com TikTok: @alltherightmovies Website: alltherightmovies.com

## Transcript

[0:05] This is the manuscript in which the Friar chronicled the night
[0:09] story. It doesn't reveal the location
[0:12] of the Grail, I'm afraid, but the night promised the two
[0:14] markers that have been left behind would.
[0:17] This tablet is one of those markers.
[0:20] It. Proves the night story is true.
[0:23] But as you pointed out, it's incomplete.
[0:25] Now the second marker is entombed with the night's dead
[0:28] brother. Our project leader believes that
[0:30] tomb to be located within the city of Venice, Italy.
[0:34] As you can now see, Doctor Jones, we're about to complete a
[0:38] great quest that began almost 2000 years ago.
[0:43] We're only one step away. You've got the wrong Jones, Mr.
[0:48] Donovan. Why don't you try my father?
[0:53] We already have your. Father is the man who's
[0:56] disappeared. Indiana Jones goes on a
[0:59] globetrotting adventure in search of his father who has
[1:01] gone missing in his quest for a divine higher power, the Holy
[1:04] Grail. Indy's search for the Grail
[1:06] leads to an emotional reconnection with his father.
[1:09] The third indie film in the series and the last of the 80s
[1:12] saw familiar faces return for yet another RIP roaring
[1:15] escapade. Spielberg ended the decade on a
[1:17] high cement in his iconic character's place in Hollywood
[1:20] history. My name is Luke and the two
[1:22] fellows who could get lost in their own museum are Wesley.
[1:26] No, I respected your pride. And I taught you self-reliance.
[1:31] And Matt? The dog You were named after the
[1:34] dog. All the right movies are on a
[1:39] quest for the grail, and in this sort of race, there's no silver
[1:42] medal for finishing second. Hi everyone, welcome to All the
[2:04] Right Movies, a podcast on classic and hit films that
[2:06] belongs in a museum. Sure does.
[2:09] This week we're back in the saddle with Indy, but this time
[2:12] he's brought his dad along for the ride.
[2:14] Ford, Connery, Spielberg, Alexi Sale.
[2:17] It can only be Indiana Jones. And the Last Crusade?
[2:21] Brilliant. Now, before we get on the plane,
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[3:37] appreciate it. Yes, we really appreciate that.
[3:39] Thank you so much guys. Two and then Westie, this one
[3:41] was obviously your pick, obviously.
[3:44] Do I need to ask why you want to talk about?
[3:46] No, you should know. You should know why.
[3:49] Absolutely no reason why you need to know.
[3:51] It's just a magic to this film. I absolutely adore it.
[3:55] It's one of my very, very favourites.
[3:56] It's probably an earliest memory of going to the cinema.
[3:59] So this in 89 when it came out, brilliant, it was unbelievable.
[4:03] I left there completely changed what a time I had.
[4:06] I just time stood still, the world disappeared and I was just
[4:10] engulfed in this character that I'd loved because I'd seen
[4:13] Raiders and I'd seen Temple to Doom obviously, and this was
[4:16] like it was just a reward to see this on the big screen.
[4:19] It's me. One of my sons favorites
[4:20] obviously loves Temple to Doom over this one because he said
[4:22] he's a bit of a maniac. Of course he's your.
[4:24] Son, that's why, of course. Yeah, that makes perfect sense.
[4:26] I think I love Tumblr doing before I'd kind of invested a
[4:29] little bit more into this one. But it's just a great story.
[4:32] It's a great premise and it's a very, very personal film for
[4:35] Spielberg, and I think it's a very personal film for everybody
[4:37] involved. It's a great father and sons
[4:39] story. Easily the funniest of the
[4:41] Indiana Jones films. Yeah, it's very, very big.
[4:45] It's very, very loud. All the set pieces are amazing.
[4:48] All of the actors are amazing. It's an amazing film.
[4:50] I absolutely love it. It's one of be very favorites.
[4:52] Let's just get into it. Let's do it.
[4:54] But before we do that, Matt, why do you want to talk about last?
[4:57] Oh yes, sorry. You know.
[5:00] The other people here, Sorry, Matt.
[5:04] Well, I'm actually surprised it's taken us this long to get
[5:06] around to another indie film. To be honest, when we did read
[5:09] this, I was a very long time ago.
[5:10] So it's. My second podcast, I think.
[5:12] That's all I was. I mean, this one, though, what
[5:16] can I say about it that just isn't immediately obvious?
[5:18] I mean, this and the original trilogy, it's just always been
[5:21] there for me. It's always been a massive part
[5:23] of my life growing up. Everyone involved in this is on
[5:25] absolute top form because everyone, by now, everyone
[5:28] involved knows the character inside out.
[5:31] The know what the film needs to be.
[5:32] That's real sense that the stepper back from the darkness,
[5:35] that the broader temple of Doom, this one does have that real
[5:37] lightness of touch which it needs, and it's got a real
[5:40] emotional core to it. And I've just never, ever, ever
[5:43] feel to be just completely entertained by it.
[5:45] Yeah, it's a personal reconcile the whole film, isn't it?
[5:47] All the way through, Yeah. Yeah, it's magnificent.
[5:49] Yeah. I mean, I was like, you 2 fellas
[5:51] already an indie note by the time this came out.
[5:55] I'd seen Raiders, but I was most familiar with Temple of Doom,
[5:57] which I loved, so when this came out I saw that the cinema loved
[6:01] it. Naturally, first in line when it
[6:02] came out in VHS. It's been with me and it sounds
[6:05] like the same for you fellas. It's been with us for over 35
[6:08] years. Reeve isn't for the show, You're
[6:11] right, Westie. It is hands down the funniest in
[6:14] the series. But also, I was struck by how
[6:17] emotionally resonant the film is, that relationship between
[6:20] Indy and Henry, something that I hadn't fully appreciated
[6:23] beforehand. But aside from that, it's just,
[6:25] I mean, it's just a classic indie adventure.
[6:27] Boys own stuff, taking in some incredible locations, some top T
[6:31] action set pieces. It's pretty much perfect
[6:34] blockbuster cinema for me. Yeah.
[6:36] And on a final note, I never, ever thought that A to my
[6:39] podcast back to backwards star Denim Elliot, but here we are.
[6:45] Oh yeah, yeah, yeah. Yeah, great.
[6:47] But more on that guy later. Because he is unbelievable.
[6:51] Gold in this absolutely gold in this the pen you see I.
[6:57] Just won't get off this thing. Every line is just absolute
[7:01] gold. Amazing Indiana Jones of the
[7:03] Last Crusade was written by Geoffrey Bourne, directed by
[7:06] Steven Spielberg and produced by Robert Watts for Lucasfilm
[7:09] Limited and distributed by Paramount Pictures.
[7:11] Filmed in various locations across the globe including
[7:14] Spain, West Germany, England, Italy, America and Jordan, it
[7:17] was released on the 24th of May 1989.
[7:20] Harrison Ford stars as Junior, sorry Indy, Sean Connery as his
[7:24] dad and there's a wonderful supporting Castridge includes
[7:27] Allison Duty, Julian Glover, Denim Elliot and John Reese
[7:30] Davies. Yes, we have our tickets at the
[7:32] ready and we're firstly headed to Utah 1912 to catch up with
[7:36] the young Indiana Jones. Does anybody here speak English
[7:43] at the beginning? The opening of Last Crusade sees
[7:48] a young indie stealing the cross of Coronado from grave robbers,
[7:51] which lead to an epic cheer scene on a train.
[7:54] Yes. As a result, what we get is the
[7:56] greatest cinematic origin story of the last 36 years, and it's
[8:00] only 11 minutes long. Yeah, Matt first.
[8:03] Yeah, that's just my humble opinion though.
[8:05] I wouldn't disagree. I love this opening so much.
[8:08] Just stunning vistas. First of all, to open this from
[8:11] it's like John Ford, like that blue sky.
[8:15] It's like Spielberg reassuring everyone, like this is going to
[8:18] be dark and gloomy, like Temple of Doom.
[8:20] This is going. To be how wide open it is.
[8:22] How wide open is It's going to be fun with a capital F And you
[8:25] get that vibe straight away because there's just some
[8:27] brilliant twisting of expectation.
[8:29] So you're tracking the two Boy Scouts through the caves and you
[8:32] think like a Spielberg. He's mimicking the opening of
[8:35] Raiders, so he's going to hold off revealing Indy's face so we
[8:38] can see the jacket, we can see the fedora, but then he turns it
[8:41] on the Ted because obviously it's that lovely playing
[8:43] expectations and it's someone else completely.
[8:48] Wouldn't it have been amazing if he cast Tom Selleck as this guy?
[8:51] Oh, that would have been great. That would have been.
[8:54] Perfect. That would have been so perfect.
[8:56] I do think it's just a little heavy-handed how often Herman
[8:59] says Indy's name. He's like Indy, Indy, Indiana,
[9:02] Indiana. Yes, we get it.
[9:04] This is the young Indiana. We've worked that out by now.
[9:06] But it's fine because then it flips on his head because if
[9:09] this is Indy, why isn't he scared of the snake that he
[9:11] picks up? It's a brilliant set up for a
[9:14] joke that we're going to get in about 10 minutes time, which
[9:17] this film does brilliantly. It sets up so many jokes, and
[9:19] the PFS are all excellent. I think the slapstick is funny,
[9:22] with a horse moving out of the way when Indy goes to jump on
[9:25] it. But what I really get from this,
[9:27] and the thing I always really want to talk about, is River
[9:29] Phoenix, because I think we'd all agree he doesn't really look
[9:32] like a young Harrison Ford. But he nails the mannerisms when
[9:36] he's taken the cross and he's about to climb back up and he
[9:39] just looks back and grins. That's pure house and Ford
[9:42] somehow. It is.
[9:43] Just captures him when he runs out of The Cave and he sees all
[9:46] the other scouts have gone. That line delivery, everybody's
[9:49] last but me. Again, that's just such a
[9:51] Harrison Ford S delivery. It's remarkable performance from
[9:55] Phoenix in the film. It's just after such a cracking
[9:57] start. Phoenix was drafted in on
[9:59] suggestion of Ford. He'd work with him on the
[10:01] Mosquito Coast and thought that he looked like him as a kid and
[10:04] that Phoenix could do a really great impression of him.
[10:06] Which, as Matt was saying, he really does.
[10:08] Yeah, he does. Yeah.
[10:09] I mean it's probably the most inspired casting choice ever.
[10:14] Probably only match by Sean Connery is is in his dad.
[10:18] This film is just a perfect casting master class.
[10:21] Yeah, he's a cast, if you will. He river Phoenix just, I mean,
[10:26] to die for in this film, Yeah, it's amazing, sensational.
[10:30] And it goes from there into one of the first action set pieces
[10:33] of the whole film, and it starts on a really high bar.
[10:37] And I'm really pleased to say it doesn't really drop from here.
[10:39] And there was some expectations on Phoenix's shoulders to really
[10:42] pull this off as a set piece and as a kid doing it.
[10:45] And he really does every single step of the way here.
[10:47] Not only is his deliveries line delivery perfect, but he said
[10:51] his facial expressions are perfect, but also his
[10:52] physicality is perfect. Great moment where his horse
[10:56] jumps over the camera and then he's pursued by the two cars
[10:58] before he gets on the train. That's the same view as Raiders
[11:01] when he jumps over and then the vetoes are running after him.
[11:03] Spielberg's using that again just to.
[11:05] Yeah, just to remind you. And I love the way this whole
[11:07] film just discounts Temple of Doom, completely indigious, Hogs
[11:10] bad. All the things he did with that
[11:13] back. Yeah, that's just about that.
[11:14] Milk was a bad choice and just has that really good idea of
[11:18] linking them all together, which really works for me.
[11:20] But there's some bits in here that just really resonate for
[11:23] the character. The snake, he falls into the
[11:25] snake pit and you just think that he's not that bothered to
[11:28] say he's a bit frightened. But then when that thing comes
[11:30] out of the water, it's. What the fuck is that?
[11:33] Yeah. It's terrifying.
[11:35] It's disgusting and that really terrified me.
[11:38] When I was a kid, I was, I don't know if I'm going to get over
[11:40] this and finish watching this film because that would do it
[11:43] for me. And I was scared of snakes.
[11:45] Since then, the score he gets from the whip when he's
[11:48] whipping, he's trying to keep a lion down and it's just actually
[11:51] falling forward scar. That's brilliant.
[11:53] That lie in itself tests his faith.
[11:55] And then he has to take the leap from the lion's head at the end
[11:57] of the film. That all ties together.
[12:00] I love that you've got hard kids.
[12:01] He gives him that line and he's got the heart badge from the
[12:04] scouts and he's all got his uniform.
[12:05] It's just these little things that just really, really work
[12:09] together. There's no real sense of peril.
[12:11] You know, these guys aren't going necessarily hurt and they
[12:13] just want this cross back. And he's just defiant.
[12:16] It's the Indiana Jones defiancy of like, no, I'm right, this
[12:19] belongs in a museum. I've got morals, but I'm still
[12:22] stealing something with morals. And it's still funny.
[12:24] It's great. And he holds on to all of that.
[12:27] And then when he gets back to the house and you don't see
[12:29] Henry, you just see the finger come up and it's in Greek and he
[12:33] knows how to count it green. It's fine and you get them
[12:35] really, really wonderful lines where it's just me, he who
[12:39] illuminated this, illuminate me, and we'll get that as a payback
[12:42] at the end of the film. And it's not the illumination
[12:44] that he's looking for. I think it's just a really
[12:46] wonderful sequence. Completely sets it up and it's
[12:49] just a heartbreaker for me every time I watch this.
[12:52] The Phoenix was taken so young and so devastating.
[12:56] Absolutely devastating because if anyone else could have made
[12:59] this franchise what it should have been, it would have been
[13:02] River Phoenix. Yeah, absolutely.
[13:04] Yeah. The number like you see and the
[13:05] number of setups for the character that we know and love
[13:08] over 2 films that is here in this, just this opening scene
[13:11] trying to turn the line with the whip.
[13:13] Now he's got a whip, and that's his.
[13:15] Yeah, that's his thing. That fear of snakes when he
[13:17] falls into the box full of snakes, I mean, it's absolutely
[13:20] amazing. And that Fedora.
[13:21] Yeah, and that guy who gives indeed the fedora, he is simply
[13:24] called Fedora in the film Law. In an earlier draft of the
[13:27] screenplay, he was actually going to be up in a Ravenwood,
[13:29] who as we know, that's Indie's mentor and Marion's father from
[13:33] Raiders. Yeah, I mean, it would have been
[13:34] a nice tie in, wouldn't it? Yeah.
[13:37] It would have been nice tie in, but I think it's just a little.
[13:39] It would have been a little bit too tight.
[13:40] You need something that just has this mystery.
[13:42] They don't know this guy is. One of the characters young Indy
[13:45] goes into is called Doctor Fantasy's Magic Caboose.
[13:48] Yes. And this is Frank Marshall,
[13:50] pseudonym when he's performing magic tricks.
[13:53] Don't know why he should be performing magic tricks, but he
[13:55] was similarly referenced in Poltergeist, wasn't he?
[13:58] It was. Yeah, if you can recall.
[14:00] Yeah. And it was Marshall who came up
[14:01] with the idea of India escaping through a false bottom box.
[14:05] Right. It's a great move all in one
[14:06] shot. Yeah.
[14:08] Tell you what a great set up you get here as well, which doesn't
[14:11] get resolved right to the end. It's just the shot of the dog.
[14:13] Yes, because you just see shot of the dog lovey and a dog
[14:16] that's setting up one of the best jokes we in advance because
[14:20] that wouldn't work at the end if you hadn't seen the dog earlier.
[14:23] Exactly. From this moment on the train,
[14:26] Michael LAN Thierry, the mechanical effects supervisor
[14:29] for the film, he said he found a difficult shooting.
[14:31] He said you can't just stop a train if it misses its mark.
[14:33] It takes blocks and blocks to stop it and to back it up.
[14:36] So he had a real problem doing this scene.
[14:38] He said that he hid handles for the actors to grab onto when
[14:40] they were moving through the carriages.
[14:42] But the interiors were shot not on the train, but at Universal
[14:45] Studios in Hollywood, and they were built on inflated and
[14:48] deflated tubes to create the effect of the motion of the
[14:51] train. Looks legit.
[14:53] Yeah, you can tell that at all. And very much like Raiders,
[14:57] thousands of snakes were used for this sequence.
[15:00] But the container that Phoenix falls into is full of fake
[15:03] snakes. Rubber.
[15:05] Yeah. Rubber Phoenix.
[15:09] Rubber Phoenix. Well, that's going to make it
[15:14] in, isn't it? And with Westies joke, we'll
[15:20] break from proceedings there and ask our first Patreon question.
[15:25] We mentioned Patreon at the top. One of the other benefits is you
[15:29] can ask us a question for the film that we're talking about.
[15:31] We'll answer it right here. Right now.
[15:33] Our first one comes from Kirsty. Hello, Kirsty.
[15:36] Hello. Kirsty.
[15:37] Kirsty says. I love this film and it might be
[15:39] my favorite of the indie series. She said See and Ford and
[15:43] Connery have such good chemistry and be that comedic was amazing.
[15:46] But she's thinking about the back story here.
[15:48] What other good back story setups like this can you think
[15:51] of in other films like the one with River Phoenix?
[15:54] OK, right. So great setups.
[15:56] I think we'll need to use artistic license because this
[15:58] one is quite unique. Yes, it is.
[16:01] Yeah. But where are you at with
[16:02] Kirsty's question, Wesley? The ones that sit with me where
[16:05] I get a very good sense of what is to come from the back story
[16:09] that's even kind of before the credits of rule is the Departed
[16:13] works for me. I think we get a really good
[16:14] sense of the back story that where the current motivations
[16:17] are brilliant. Magnolia, I think that sets up
[16:21] everything beautifully. That's about 15 minutes of your
[16:24] back story before we get into it.
[16:26] Lord of the Rings tells the whole story, Another Paul Thomas
[16:29] Anderson effort, There will be Blood.
[16:30] I think the opening of that dialogue free sets the story and
[16:34] sets the ambitions of Daniel Plainview to see him, what he's
[16:37] been through, and 28 Days Later sets up the disease better than
[16:41] any other zombie film I've seen, to be honest.
[16:43] And it is pretty forgettable, but not really when you think
[16:47] how important it is. And lastly, Children of Men, for
[16:50] a film that sets the tone in the opening for how that film's
[16:53] going to kind of go in the back story to everything that's
[16:56] happened. Is it?
[16:57] That's up there for me. Then That's my thoughts on that
[16:59] one. Wonderful.
[17:00] Yeah, great. Westie and Matt.
[17:01] I mean, can you decipher wade through that huge list?
[17:05] Classic Westie crossover. I mean, amazingly there was only
[17:10] one crossover there. I did also see Lord of the Rings
[17:13] in terms of other bits of back story that I think is sort of
[17:15] really effectively very early. Halloween was the first one that
[17:19] came into mind. Just completely sets of Michael
[17:21] Myers. Why so dangerous in that
[17:23] opening? Another horror one for me, The
[17:25] Omen to setting up the early birth mystery of Damien and
[17:30] Gregory Peck's character. Nor something that his wife
[17:33] doesn't, which sets the whole chain of events off really well.
[17:36] And the last one for me is the opening to Unbreakable, where
[17:39] you get the background to Samuel L Jackson's character.
[17:42] Nice. Yeah, I didn't know there was
[17:44] only three. My apologies, I doubled up on
[17:45] that. Batman Returns is another good
[17:47] one. Well, I've gone for Batman
[17:50] Returns. Children of men.
[17:55] No, no. There's one crossover from your
[17:57] list, Matt, but none from yours. Westie for.
[17:59] Me. There you go.
[18:00] OK, great. And then, like I said, use an
[18:02] artistic license. And I think we're going to be
[18:03] talking about The Godfather Part 2.
[18:05] Nice. Similar to Indian that it's
[18:07] coming in on a sequel telling the story of a character that we
[18:10] already know and love and have affection for.
[18:12] Obviously it's the equivalent to a whole film as opposed to an 11
[18:15] minute scene, but still magnificent stuff.
[18:18] Yeah, in the woven back story. Great stuff.
[18:21] Like you said, Matt, the opening of Halloween, it's a master
[18:23] class by John Carpenter. Technically and narratively, we
[18:26] get everything we need in the opening 10 minutes to set us up
[18:28] for the terror in Haddonfield for the next 80.
[18:31] And finally, I'm sticking with horror, obviously, and going
[18:34] with Fred Kruger's back story in Nightmare on Elm Street.
[18:39] It's told kind of halfway through the film.
[18:42] Nancy's mother tells her what she doesn't want to hear and
[18:45] even brings out his glove as terrifying proof.
[18:48] And I can visualize the whole scene with the parents of Elm
[18:51] Street kids Corner and Freddie and giving them six of the best,
[18:54] obviously burning them to the ground.
[18:56] Six are the best. Nice take that.
[19:00] Take that, you Rascal. Six are the best for you.
[19:05] Yeah. Yeah.
[19:06] So yeah, I can really visualize that without it being in the
[19:09] film, although maybe I'm kind of conflicting that with the scene
[19:12] from Freddy's nightmares. The TV show which is has his
[19:15] back story is in the opening episode, the pilot episode.
[19:19] The remake has it as well, doesn't it?
[19:21] The remake has it as well, so maybe I'm getting a little
[19:23] confused. But still powerful nonetheless.
[19:25] Yes, of course, that always sticks with you.
[19:28] The remake. How can I get Freddy Krueger
[19:30] into this? How can I get Freddy Krueger in
[19:32] the Last Crusade? Here it comes, you will go.
[19:38] Well. Thank you for the question
[19:39] Kirsty. Let us know what your favourites
[19:41] are. Yes, thank you, Kirsty.
[19:42] And coming back to Last Crusade after the opening, adult indie
[19:46] recovers the cross and returns to his day job.
[19:49] And I'm picking up where he meets Donovan Walter, not Jason.
[19:55] Can you imagine? Too many broken hearts in the
[19:58] world. There's too many that would have
[20:00] been. Man, Fucking heartbroken.
[20:03] This scene, it sets everything in motion for the rest of the
[20:05] film. It's a quiet scene, but it's
[20:07] it's pivotal. It may be a little innocuous
[20:10] like on the surface, but if you really dig down, it introduces
[20:13] Donovan, the night shield, the Holy Grail, Indy's dad, and sets
[20:16] in the often another adventure. All the iconography of the film
[20:20] is now famous for is in this scene.
[20:23] Impressive for a scene that goes unnoticed and could have been a
[20:26] snooze because it's pretty much all exposition.
[20:29] Yeah. And what helps, I think, is the
[20:31] performance by both actors, which are very nicely
[20:34] understated. But you can see that Julian
[20:36] Glover is drawn on his feed, a background when he delivers his
[20:39] lines. Things like we're about to
[20:41] complete a great quest that began almost 2000 years ago.
[20:45] We're only one step away. Not much riding on it then, but
[20:50] he easily pulls it off with quiet confidence and not to be
[20:53] outmatched by a grandeur. I love it when Indy dips his
[20:56] finger in the Moy to clean the 2000 year old stone tablet.
[21:00] Yeah, it's great. Priorities.
[21:02] Of. Course.
[21:03] Great. So a great scene and now we're
[21:05] off on another great adventure, keeping up with the Joneses.
[21:07] Yeah, nice. So with Henry nowhere to be
[21:12] found, Indian Marcus hop on a flight to Venice.
[21:14] How will they recognize this doctor Schneider when they see
[21:17] him, Westie? Well, I mean, I recognized her
[21:20] straight away, and I still do to this very day.
[21:22] When I was a child, Marion was straight out the window.
[21:25] Forget about her. This is the new kid on the
[21:27] block, Willie. Not.
[21:28] Not bothered. Elsa.
[21:30] Yeah, we're going now. We're talking fantastic
[21:33] performance from Allison Duty as well, very, very young when she
[21:35] took this role. And I think she just absolutely
[21:38] shines in it. Just great.
[21:39] Loads of twists and turns of her character and she nails every
[21:41] single one of them. I think it just keeps you on
[21:43] your toes constantly. And it's great how this talks
[21:45] back to the classroom sequence of 70% of archaeology is
[21:47] research and some of the library and ex never marks a spot and
[21:50] it's not exciting. He's trying to convince his
[21:52] students the way he does archaeology itself isn't
[21:54] exciting. Whereas us and audience kind of
[21:56] go, yeah, yeah, I'm sure it is fine.
[21:59] And she says, you know, I'm going to arrange for them to
[22:02] stay a little bit open a little bit longer.
[22:03] That's going to close in a moment.
[22:04] I'll be like, oh wow. She's just got authority here.
[22:07] She's just I just wouldn't have even bothered looking for the X
[22:10] marks the spot. I would just be like, you want
[22:12] to just go and get a coffee and Marcus can go and have a look
[22:14] for something now just, you know, let's just let's explore
[22:17] this relationship as opposed to the, you know, the grail thing.
[22:20] Let's know each other for two minutes.
[22:22] Yeah, you do, right When you know, you know.
[22:25] All right. But yeah, it's just wonderful.
[22:29] X never marks a spot, and then it does, and he's on top of the
[22:31] ladders and he points down. He can't even believe it. 10.
[22:34] What Spielberg does here, he cross cuts this with probably
[22:37] one of the funniest bits in the whole film of that librarian
[22:40] stamp in the book and that timing.
[22:42] It's so, so brilliant. It's it's almost like just
[22:45] really classic first book of like visual sound humor, cross
[22:50] cutting film. And it's just that stamp and a
[22:53] bang. And then, you know, Ford's
[22:55] looking around and this guy's got no idea and he's like
[22:58] dingbat Dong. It's just the noise of it's
[23:00] funny. It should even reverbs through
[23:02] the library should. Be really threatening but it's
[23:04] like metallic and it's rock and it's perfect and it makes
[23:07] perfect sense and it's just the way he kind of leaves it on top
[23:10] of the little looks at it he's. Just like I'm just gonna leave
[23:13] that there, yeah. I think I've had enough today.
[23:15] Yeah, I feel like that at the end of this work days.
[23:18] Yeah. And they're going at the
[23:19] Catacombs, which is wonderful. There's a throwback here to
[23:21] Raiders, which I always love because there's that little
[23:23] subtle tint in the score. And he's like, it's the it's the
[23:27] Art of Covenant. You sure?
[23:28] Pretty sure just he doesn't look at it for too long because he
[23:31] knows you can't look at the arc for too long at the end of
[23:33] Raiders. And I love that as well.
[23:35] And he just kind of moves past it.
[23:36] I've got a little bit of a problem with this petrol that
[23:39] they're walking through. I always have.
[23:41] And he just thinks it's a really good idea.
[23:43] A light, a massive torch. Like if he drops that, we're in
[23:45] serious trouble. So just just keep a hold of
[23:49] that. Don't drop it just feel on edge
[23:51] because one just one match and then you're just the fire
[23:55] sweeping through the noise of that sweeping through the sound
[23:57] designs incredible underneath and it's like, how does that
[24:01] work? Why doesn't fire get underneath
[24:02] that? Didn't care it.
[24:04] Wouldn't be really. Hot for a start.
[24:05] I don't care and it's like right, I found a way out, I'm
[24:08] going to open my eyes in petrol water, that's fine, no problem
[24:11] with that. Straight out.
[24:12] And then the day and it just get that great line again.
[24:14] I have Venice and we're into another chase, we're into
[24:18] another set piece. It just doesn't stop.
[24:20] It's just fantastic for even the smaller bits.
[24:22] There's humour, there's character development, there's
[24:25] great dialogue, there's great callbacks and then you're into
[24:28] an action set piece and it's just one of the other all the
[24:30] way through the film. Fantastic.
[24:31] For a thing, it's just got everything.
[24:33] Yeah, and those rats in the tunnels, they were bad,
[24:35] especially for the film. And Spielberg went to the same
[24:37] place he did for all the rodents and the creepy crawlies he
[24:40] needed for the first two indie films.
[24:42] They did go a bit OTT and actually bred 5000 for him, but
[24:45] he did only need 2000 of those and the only stipulation he had
[24:49] was that they had to be disease free because standard rats are
[24:52] just riddled with diseases. Discussing.
[24:54] Yeah, do you me rats I'm not that bothered about, but they
[24:57] really creep me out because you can feel them, then you know
[25:00] that they are real, real creatures.
[25:02] Yeah, when it's Nelsa's hair. Yeah.
[25:04] Oh God. Oh.
[25:04] Yeah, it's when they're crawling all over each other and it's
[25:07] like that massive. It's horrible.
[25:08] There's one that he steps on as well, but doesn't put all of his
[25:11] full weight on. And he starts to like lift his
[25:13] foot up. It's great.
[25:14] Yeah, and those rats were substituted for mechanical rats
[25:17] when the fire whips through the tunnels.
[25:19] Yeah. Nice.
[25:19] So there were no rats hurt during production of this film.
[25:23] You'd see because they're not not moving, they're not moving
[25:25] at all. Yeah.
[25:27] And like you said, Westie, following the subterranean
[25:29] chase, Indian Elsa make it above ground are Venice.
[25:32] And they make a run for it and they seize the nearest speedboat
[25:36] that can find to make their getaway.
[25:37] You know, we've all been in a situation like this before.
[25:40] Yeah, yeah, yeah. It's very daunting now, yeah.
[25:42] Yeah, it's. Exactly the same, isn't it?
[25:45] Yeah, it's what also than Julie Christie were doing.
[25:49] Imagine like 10 midgets just running out of there diving on
[25:52] speedboats. In red Max.
[25:54] In red Max yeah, get the fuck out of here.
[25:58] Well, this set piece is just a great companion to the tunnel
[26:01] sequence. The pace is ramped up and open.
[26:03] Open, accompanied by some wonderful music by John
[26:07] Williams. Yeah, Indian.
[26:08] A fist fight on the back of a speed board on the Grand Canal
[26:11] in Venice with a guy brandish and a gun.
[26:13] Seems like old times. Yeah, doesn't get.
[26:15] Wonderful. Yeah, and then the head honcho
[26:18] called Kazim jumps on the board and absolutely means business.
[26:22] And this is the set pieces. Great moment when it looks like
[26:25] the board has been swallowed up by the propeller.
[26:27] It's getting closer and closer and I love that moment where the
[26:30] wood panel and roof catches and goes flying up in the air.
[26:34] Flips, yeah. Really gives a sense of danger
[26:36] that. And that's really Harrison Ford
[26:37] isn't. It it is really Harrison Ford,
[26:39] Yeah. That's pretty close.
[26:41] Even from that lens, that's pretty close.
[26:42] But Spielberg loves a perilous propeller.
[26:44] You know what in Raiders? The guy getting hung in Temple
[26:47] of Doom and now this? Yeah, it's great.
[26:49] And in this scene, the two boats that Elsa drives in between were
[26:52] cable together to keep things safe.
[26:54] So a speedboat full of dummies was launched from a platform in
[26:57] the water between the two ships, which is masked by the
[27:00] explosion. But they had to do the sun twice
[27:01] because the first one wasn't picked up effectively by the
[27:04] camera. All right.
[27:05] It's really cut well to emphasize the explosion.
[27:08] Yeah, and the noise of them just scraping out of there as well
[27:11] is. Great.
[27:13] Yeah, I love that Go. Between them?
[27:14] Are you crazy? Go between them.
[27:17] I was in duty, said in Venice. No one told me how to drive the
[27:20] boat. I had to go at speed towards
[27:22] another boat with a camera on it, and behind the camera were
[27:24] Steven and the big honchos from the studio, then George Lucas
[27:27] and Frank Marshall all on the same boat.
[27:29] I was supposed to get a signal to via left, but I left it a bit
[27:32] late and I could see them all panicking now.
[27:35] Probably could have gotten away with taking Lucas out to be
[27:38] honest. Yeah.
[27:39] Yeah. Yeah, and camera trickery was
[27:41] used in this scene to make the action look a lot more dangerous
[27:43] than it actually was. They made the board extra long
[27:46] to keep a minimum safe distance between the actors and the
[27:49] propellers. Yeah, and it's shot us at a
[27:51] specific angle to make them appear closer to the blades and
[27:54] really scans on screen. It really works.
[27:57] Fantastic. Kebok Malik and plays the part
[28:00] of Kazim in this scene, a member of the Brotherhood of the
[28:02] Cruciform Sword. Oh yeah, Spielberg saw him in
[28:04] Midnight Express and really like this performance.
[28:06] Now, if you're going to keep that light after Temple of Doom,
[28:08] don't cast anybody out of midnight.
[28:12] Malikiyan might have worked with Spielberg earlier if Fiat hadn't
[28:15] intervened. He would have auditioned for the
[28:17] part of Salah in Raiders book or Cotton a traffic jam so he
[28:21] missed his window. Oh wow, I think he would have
[28:23] been good. Yeah, he wouldn't have.
[28:25] Loved John Reese Davies, but he's really, really good.
[28:27] My soul is prepared. How's yours?
[28:29] How's yours? Great.
[28:31] And on this Brotherhood of the Cruciform Sword.
[28:34] Who the fuck are these guys? I don't know.
[28:36] Great. Though.
[28:38] These are keepers of the grail who will kill to protect it.
[28:41] But just why? There's too many questions.
[28:44] But I mean, they're full blooded in their beliefs.
[28:46] How aggressive are they? Machine guns.
[28:49] That's an aggressive move it. Really is.
[28:50] It's too aggressive. You're going to protect the
[28:52] grail, right? Let's do you want to be
[28:54] inconspicuous? That's probably a good idea.
[28:56] I'll just brand this on my chest and wear feathers around Vin.
[28:59] Yeah. The Brotherhood of Tommy Cooper.
[29:05] How do you get the grill just like that?
[29:11] It's the best thing you've ever said.
[29:12] That's the greatest thing.
[29:36] Well done. Yeah.
[29:38] These guys, I mean, they're so protective, but they're just so
[29:41] cavalier that they'll incinerate everything in the catacombs
[29:45] under the library. Yeah, surely that lawn, Do you
[29:47] just burn the whole building and ruin everything that is sacred
[29:50] underneath it? What are they playing that?
[29:53] Really immature. You can't have it.
[29:56] Burn it. Yeah.
[29:58] So after this, they get the location of Henry from Kazaim
[30:01] and that's when Indian Elsa get to that castle.
[30:04] And it's all about payoff at this point because Henrys being
[30:06] built up so much so far in this film.
[30:09] Like he can't disappoint when you first made him.
[30:11] And I do feel that this part of the film, it just needs
[30:14] something extra because it's been incredibly entertained.
[30:17] But so far, it's just been, this is kind of just the way this
[30:20] plot points really. Again, isn't, you know, this
[30:22] clue, this clue, he meets the woman and now they're going on.
[30:24] So they need something different here.
[30:26] So Henry's appearance comes to the perfect time.
[30:28] And that chemistry between Ford and Connery, it's instantaneous.
[30:32] And it takes a hell of a performance to make Harrison
[30:36] Ford in the 80s in this role, make him to seem immediately
[30:40] bumbling in the net. And that's exactly what Connery
[30:43] does. I mean, the first into play
[30:45] between them, Junior, yes Sir. Like Ford immediately, just
[30:50] because this little kid. Stands to attention.
[30:54] Stands to attention and it's so well written because Henry's
[30:58] priority. He's hit in the over the head
[31:00] with his fast but his priority is clear by the fact he's
[31:03] completely ignored. What Indy is saying about his
[31:05] head being OK. He's I've never forgiven myself.
[31:08] He's not torn by the head, just focusing on the Ross.
[31:10] Thank God it's a fake. I mean, it just tells you
[31:13] everything you need to know about them and these two
[31:15] together with that writing, the comic moments just pop off the
[31:19] screen one after another. The Nazis come in.
[31:22] Doctor Jones? Yes, in perfect Amazing Henry's
[31:26] whole speech about his son not being that stupid to bring the
[31:29] diary along with them. Contrasted to the facial
[31:32] expression you get from Harrison Ford here.
[31:34] Like sorry. Like you have the diary in your
[31:39] pocket. I should have mailed it to the
[31:41] mark. That line, that line's
[31:44] magnificent, and it's just incredible how immediately
[31:48] convincing they are as father and son and how quickly you
[31:51] understand that relationship. The whole thing is hilarious and
[31:54] it ends on such a great note when in the grabs the gun kills
[31:57] the Nazis and Henry said gas at it.
[32:01] What? You did.
[32:03] You did. He's not what he expected his
[32:05] dad to be like at all. It's wonderful.
[32:07] What I love about the scene as well is that Indie has got scant
[32:10] regard for safety or cunning or anything like that.
[32:14] He's just bundles into this castle, tells some cock and bowl
[32:17] story about being a Scottish Lord.
[32:20] Mickey Mouse, how dare you? So he lies about this story
[32:27] about being a Scottish Lord. He whacks the guy out to bust
[32:29] through windows. How on earth did he think he was
[32:31] going to get away with it without being caught?
[32:34] Immediately? The guy in the door needs to
[32:36] just wake up and raise the yellow in the castle.
[32:39] Yeah, yeah, yeah. There's great foreshadowing in
[32:42] this scene as well when he spots the fake, which is how they did,
[32:45] yes. So what the grail is at the end,
[32:47] you kind of spot the fake one, but also he spots out Elsa as a
[32:49] fake. And the moment when Henry says
[32:51] she talks in asleep about Elsa was completely unscripted.
[32:54] And when he said the line filming had to stop because
[32:56] everyone was rolling around on the floor laughing, Spielberg
[32:59] even conceded right there and then that line was definitely
[33:02] going to make the final cut out. Of course.
[33:04] See why it's amazing? Yeah, and that scene is amazing.
[33:07] The camera does this massive zoom into Indies face.
[33:09] It sweeps into her Indies face, he says.
[33:11] How do you know she was a Nazi? Talks in asleep and Spielberg
[33:14] leaves so much room for silent reaction and you can kind of
[33:18] tell that it was ad Lib be considering Ford's face and
[33:21] Connery's just a little smirk that he's trying to stifle.
[33:24] Yeah, it cuts there, doesn't it? Cuts it off to a separate angle.
[33:27] Yeah, it's great. It's wonderful.
[33:29] OK, what an opening. We're on a rescue mission.
[33:31] But in classic indie style, he's found himself at gunpoint
[33:34] immediately. The director.
[33:42] Steven Spielberg had an experimental 80s after Temple of
[33:45] Doom, The Color Purple and Empire of the Sun followed
[33:48] before he was back in the director's chair for 1/3 Indie
[33:51] out. And he was obliged to come back
[33:53] for 1/3 Bite of the Indie cherry for a few reasons.
[33:56] Firstly, when the idea was conceived in the late 70s, he
[33:59] gave Lucas his word that he would direct three films and he
[34:03] re is true to his word. But also in 1979 he'd agreed
[34:06] with Paramount to do 5 indie films.
[34:08] And finally, he wasn't happy with how Temple of Doom had
[34:11] ended up. He said it was too dark, too
[34:14] subterranean and much too horrific.
[34:16] I thought it out poultered Poltergeist.
[34:18] There's not an answer of my own personal feeling in Temple of
[34:21] Doom, which feels a little dismissive.
[34:24] Both Spielberg and Lucas later refer to Doom as their divorce
[34:27] movie, as production started when they were both going
[34:30] through divorce proceedings with their respective wives.
[34:32] Can't do anything individually. Can you do everything together?
[34:35] That's one holiday. Do you want to get divorced?
[34:37] I fucking rights. Let's do the same thing.
[34:39] Let's go on holiday 2 moments. I can't do anything without each
[34:44] other. I thought I'm.
[34:45] Coming out, do you want to go to the Hawaii?
[34:46] Yeah, let's do that. Still do it.
[34:49] So I guess Last Crusade is kind of like a Temple of Doom
[34:52] apologist. Spielberg even had to pull out
[34:55] of two potential big directing projects to get behind the
[34:57] camera for Indy, and that was Big and Rain Man, which he was
[35:01] both heavily linked to. Yeah, yeah.
[35:04] And as a result of his disdain for Doom, he set out to lean
[35:07] into the torn of Raiders a bit more, and he even drafted in
[35:10] denim. Elliot and John Reese Davies
[35:11] back into the mix. Yeah.
[35:13] Also returning back was Pat Roach, back again after two
[35:16] roles in Raiders and one in Doom.
[35:18] He plays a gestap or guard here. He was supposed to have a fight
[35:21] scene within the Obviously the he loves a good fight scene on.
[35:26] The Zeppelin wasn't it. Yeah, that's right.
[35:27] But I was taking. This top off for no reason.
[35:30] Of course, yeah, why not? Obviously you've got also got a
[35:32] scene with indie teaching class which precedes a scene between
[35:36] Indian markers following up on a lead, just like Raiders.
[35:39] So this feels very much in spirit Raiders.
[35:41] But I think it's got a few elements that does set it apart
[35:44] so that it's not just a rehash of the original.
[35:46] It's not The Force Awakens, for example.
[35:48] No, it's definitely not. It's got a much lighter tone to
[35:51] Raiders, this one. Yes, there has.
[35:54] There's a lot more humor, obviously, and emotion at
[35:56] playing in Last Crusade, and what I'm impressed with is
[35:59] Spielberg's hand of these just absolutely deft.
[36:02] When I think about Last Crusade, it's a rollic, an adventure in
[36:05] my head, but when I watch it, the emotion hits really hard.
[36:09] Yeah, and look at the difference between the emotions of the
[36:11] film. When Indy thinks Marion is dead
[36:13] in Raiders, it's just breezed over not 5 minutes after she's
[36:17] exploded into smithereens. Salah is very dismissive, like
[36:23] ranges. So you just don't believe that
[36:26] she's gone. But this film really takes its
[36:28] time to make sure you're emotionally invested in these
[36:30] characters. Yeah, I know.
[36:32] The difference is the love interest.
[36:33] Alison Duty plays Elsa, and she said with also being a bad girl,
[36:37] it was really designed to view away from the damsel in distress
[36:40] from Temple of Doom. Certainly a move for the best.
[36:42] And another good move was to reintroduce Nazis into the
[36:46] narrative for Crusade, just like Raiders.
[36:48] Yeah, obviously. I don't think any of us complain
[36:51] about that if we need to see them get their comeuppance.
[36:54] Oh, absolutely. Every time.
[36:56] So during the book burning scene, Spielberg was actually
[36:59] encouraging the Nazi X was to cross the fingers behind the
[37:01] backs when they were doing the Nazi salute.
[37:04] And in this scene is Michael Shiard playing Hitler and that
[37:07] was role he played twice before. He's also famously in The Empire
[37:11] Strikes Back, but our UK listeners might know better from
[37:14] his performances on TV in Green Chill and Off We The Same Pet.
[37:18] That's right, yeah, he said. Raiders as well.
[37:19] Was news that you bought Commander.
[37:21] That's right. And next to him in that scene is
[37:24] blinking. I'll miss it.
[37:24] Ron Lacey as good. Yeah.
[37:27] Yeah, who played Tot in red? Yeah, a requirement for that
[37:31] scene was for hundreds of extras to be kitted out in Nazi gear,
[37:34] costume designer Anthony Powell said, his Co designer on a
[37:36] mission across Europe to get legit Nazi uniforms.
[37:39] I mean, I don't know. We asked for them just quietly,
[37:41] The majority of which she found in Germany, which wasn't
[37:44] surprising. Yeah, of course.
[37:46] Now, I mean, I expect nothing less from Spielberg.
[37:48] Obviously, if this film was going to see loads of Nazis
[37:51] being busted up, the authenticity has to be spot.
[37:54] On it does, yeah. Despite ham which of a bad tears
[37:57] it leads in your mouth. Westie, your thoughts on
[38:00] Spielberg as director here. Yeah.
[38:02] I mean, like we've said, it's a very, very personal film.
[38:05] I think like Jaws as a personal film, I think this is next in
[38:08] line for the father and son relationship.
[38:10] Just the other side of it. Just, you know, when you've got
[38:13] a grown up son and you feel like you've you missed lots of
[38:16] opportunities with them growing up and did I raise them right?
[38:19] Did I do the right thing? Was it too selfish?
[38:21] All of these questions are here, but they're done with such a
[38:24] deaf touch, such a light touch, that you kind of watch it and
[38:28] go, but it's all right because you've always still got time.
[38:30] And I think that's one of the elements of this film that
[38:32] really hits home with me, is that as long as you've just got
[38:35] 5 minutes is enough. And he says that in the actuals
[38:38] got 5 minutes is enough to tell people what you want to tell
[38:41] them. And once they're gone, they're
[38:43] gone. And that's what always hits me
[38:44] with this, is that, you know, it's a film about a cup that
[38:47] gives you eternal life and you can give somebody eternal
[38:51] memories in 5 minutes. You can do that if you express
[38:54] yourself. And I think that's what
[38:55] Spielberg's trying to say, is that you've got to appreciate
[38:58] what's around you and stop trying to chase treasure.
[39:00] That doesn't mean anything. That's what I've done with two
[39:03] films. And they've both let him down.
[39:04] He doesn't. He leaves empty handed.
[39:06] It would have just been another rock in the museum and the art
[39:09] gets put into a massive warehouse.
[39:11] But what he's trying to say with this is that relationships are
[39:13] the real treasure in the world, and that's what you should
[39:15] always look for. And the museum should be your
[39:17] heart for the one of a better kind of phrase of it.
[39:19] And, you know, not sound too cheesy, but that's kind of what
[39:22] he's getting across without it being that like, oh, God, I know
[39:25] what he's trying to say. And he doesn't lay it on thick.
[39:28] He disguises it with a lot of action set pieces, a lot of
[39:31] peril, a lot of humour and it is complicated.
[39:34] Their relationship is very complicated and it starts off
[39:37] very aggressive, especially from ND side.
[39:40] And this lack of understanding from Henry and it's just them
[39:43] learning to understand each other is the true nature of the
[39:47] story. And I think that's what
[39:48] Spielberg was missing in his life.
[39:49] If you watch the fable man's, I mean, I don't think he's dad
[39:51] ever understood what he wanted to do.
[39:54] His mother did, but I don't think he understood his daddy's
[39:57] priorities, his daddy's motivations.
[39:58] And I think that was reciprocated from his dad not
[40:00] understanding his motivations. And the theme of this is still
[40:04] timeless. Yes, it's 1939, but what they're
[40:06] trying to see it is still absolutely necessary of.
[40:09] Course relevant now, Relevant always.
[40:12] Very relevant, yeah. I kind of find it interesting
[40:14] that although Elsa is you know, that the the obvious love
[40:17] interest, I think Henry has replaced the lady in Indies life
[40:22] as the love interest. It is.
[40:24] That is a delicious piece of writing that they've both had
[40:27] sex with Elsa. It's outrageous.
[40:30] And Matt, your thoughts on Spielberg here.
[40:33] This is Spielberg and it's blockbuster pomp, isn't it?
[40:35] So making a blockbuster now is the second age drum.
[40:38] But what stands out to me is his third go around with this
[40:41] character is he doesn't feel tired of it yet and he doesn't
[40:44] feel tired of the character. I think the reason for that, and
[40:47] I think it's the reason the trilogy is so beloved, is that
[40:49] he's found different notes to play each time.
[40:51] So Raiders is the original. It has the grit, Templar Doom
[40:55] this dark, it gets pushed into the horror genre and this time
[40:58] on Spielberg firmly pushes it into the comedy genre.
[41:00] And I think that's just such a risky move, like the next, maybe
[41:04] final mission of possible movies out this year.
[41:07] And Can you imagine if Chris McCrory came out and said, well,
[41:09] this one even once Dad's going to be in it for the ride and
[41:12] there's going to be loads of jokes.
[41:14] You think you've got it's. Brian Cox.
[41:18] Yeah, that can't be a Mission Impossible movie.
[41:21] But this is what Spielberg does he and it pays off beautifully.
[41:25] Now, there's obviously comic beats in the previous suit, but
[41:28] that just really emphasized here and some of it's in the writing.
[41:31] A lot of it is obviously in the dynamic between Ford and Con
[41:34] read. But Spielberg let's it flow.
[41:36] He doesn't try to play it down, but at the same time is
[41:39] happening up the comedy. He still delivers incredible set
[41:41] pieces at the same time. And it's Spielberg who adds
[41:44] comic touches, like in that opening sequence when he cuts
[41:47] away from Indy falling into the box full of snakes.
[41:50] It's him that cuts away to this scream outside as the training
[41:53] was passed, which is really funny.
[41:55] You know, he knows the value of a good comic.
[41:57] Good. It's the same when we talked
[41:59] about the librarian stamping the book, cutting back and forth
[42:01] from that. That's Spielberg and it's really
[42:04] funny when Indy and Henry are in the castle and the rooms burning
[42:07] down around them. They get in the fight this which
[42:09] swivels round Spielberg makes that funny bite just holding on
[42:12] them with all the naps. He's completely oblivious.
[42:15] So he frames and he cuts a lot of this like he's just making an
[42:18] out now comedy. So Spielberg top blockbuster
[42:21] farm like you'd expect, but he's just, I don't know, the string
[42:23] was ball with the comedy element.
[42:25] I think there's all this. It's not just the funniest indie
[42:27] film. I think it's just funniest film,
[42:28] full stop. Yes.
[42:30] Miles funnier than 1941, let's be honest.
[42:32] Yes, definitely. The first gag you see when he
[42:34] misses the horse is straight out Buster Keaton, isn't it?
[42:37] Yeah, yeah. Yeah, they've got their roots in
[42:40] classic comedy of the Marx Brothers.
[42:43] Yeah. And the Three Stooges, you know,
[42:45] that kind of comedy. Yeah.
[42:47] But this time around, when I revisited this film, I was
[42:50] howling with laughter. There are moments which we'll
[42:52] get to where I was uncontrollably laughing.
[42:56] Usually watching this film, I'm like, yes, very good.
[42:59] But there's some some incredibly funny moments.
[43:02] Yeah, there is. Yeah.
[43:03] Well, I'm going to end on Spielberg with a comment from
[43:05] Victoria Armstrong, stunt coordinator and Ford stunt
[43:07] double. Yeah, he said.
[43:09] My last impression of Stephen was in Almira.
[43:12] He always wanted to have good light for an hour before sunset.
[43:15] You ran your bollocks off. Stephen coming along his quads
[43:18] in. Come on, guys.
[43:19] Come on guys, you're killing me. Let's move faster.
[43:21] We've got to move faster. Can totally see him doing that.
[43:24] Yeah, yeah. The cast.
[43:32] The main cast of Last Crusade takes us to some familiar
[43:35] places, and we're starting in the only obvious place Matt
[43:38] Alexi sail as the Sultan of Hentai.
[43:41] Go Yep, Korea high, obviously. Indie obviously for you, Matt.
[43:46] Yes, and it is tricky in a way, because what else is there to
[43:48] say about House and Father's Indiana Jones?
[43:51] It's similar to how I feel about Spielberg, really.
[43:53] This is him in his blockbuster pomp.
[43:55] No man has ever looked better than Father's indie in the 80's.
[43:59] The key thing about him is, and I think we all know in real
[44:01] life, House and Ford can be a bit of a grouch, but if he
[44:04] trusts the director and he likes the script, you'll get greatness
[44:07] for him. You'll get magic in the
[44:09] performance. If one of those things is
[44:11] missing, you don't get the full fault.
[44:12] You get it interested house and Ford.
[44:15] Now he obviously trusts Spielberg by now, but you can
[44:17] tell he just loves this script and it comes down again to what
[44:21] I said about Spielberg. Really it's the fact that this
[44:22] lets him be really funny And again, yes, he has comic moments
[44:26] and readers and in temple to do it.
[44:27] But this one, it really lets him play them up throughout the
[44:30] film. So whether it's a scenes with
[44:31] Elsa Venice, leave me alone. I don't like fast women, you
[44:36] know? It's just some beautiful comic
[44:38] deliveries from Ford. Throughout this, he can inject
[44:40] physical humor, mostly with his facial expressions.
[44:43] When the tank goes over the Cliff and everything's, he said.
[44:46] Just that stumble, the way he stumbles up behind everyone and
[44:49] that look on his face. Yeah.
[44:51] That was beautifully done. He's really enjoying being funny
[44:56] here, and never more so than when he gets to playoff with
[44:58] Connery. You can tell those two, they
[45:00] must have gone on like a house on fire.
[45:02] Yeah. So yeah, for third time around,
[45:05] Ford is still getting new juice out of the character, and it's
[45:07] just a delight to see. It's just magic, isn't it?
[45:10] The whole thing, it's just lightning in a bottle from
[45:13] everybody involved. Obviously, Ford's known for
[45:16] being a physical actor, but he took this to new heights in Last
[45:19] Crusade. It's him on the horse, riding
[45:22] alongside the tank. Granted, the tank was only going
[45:24] around 10 miles an hour, but still dangerous.
[45:27] Yeah, I don't want to do it. No, no, no.
[45:31] It's also him hanging from the barrel, the gun on the side of
[45:34] the tank, dangerously close to the wall.
[45:36] Yeah, the crew were just out of shot, shovel and dirt and clear
[45:39] on top of him. Right, you can tell us why,
[45:42] because that angle is so important.
[45:43] It really. Is you need it to be him?
[45:44] Yeah. It is Ford's regular stunt
[45:47] double. We mentioned him, Victoria
[45:48] Armstrong. He pulled forward aside and told
[45:50] him to give it a rest so he could get some work done.
[45:53] Take it easy. He later said that if he wasn't
[45:59] such a great actor, he'd make a great stuntman.
[46:01] Yes, and John Reese Davies was full of prayers for Harrison
[46:05] Ford, he said. It was very interesting to see
[46:07] the way that the very determined assert of young Harrison had
[46:10] matured into the laid back superstar who allowed himself to
[46:13] be upstaged by a man he obviously adored and revered.
[46:17] Yeah. That's clear to see, yeah.
[46:19] And the scene where India is teaching class, he makes
[46:21] reference to a Doctor Tyree. Archaeology is a search for
[46:24] facts, not truth. It's truth.
[46:26] You're looking for Doctor Tyree's philosophy because it's
[46:28] right down the hall and this is a reference to a former
[46:30] philosophy teacher of Ford's William Earl Tyree.
[46:33] Yeah, nice little reference. You know, like what you were
[46:35] saying, Matt, He sometimes gets labeled criticized as being a
[46:39] bit of a grumpy bastard, a bit of a grouch.
[46:40] Yeah, But he clearly has respect for those that came before him
[46:44] and a great reputation among his peers as well.
[46:47] Yeah. So Ford, excellent in familiar
[46:49] territory. Is there a more iconic character
[46:51] in movie history? I wouldn't have thought so.
[46:53] Not for me. No.
[46:57] Now over to an inspired piece of casting.
[47:00] Who else could play Indiana Jones's dad, the James Bond?
[47:03] Westie. Yeah.
[47:05] I think that's the first thing I've got written down here, is
[47:07] that James Bond reference that must have got everyone so
[47:10] excited. I mean, Connery at this point is
[47:12] probably sick to death of being referred to as James Bond.
[47:15] He's like, that's not all I want to be remembered for.
[47:17] I'm, I'm, you know, I'm an actor.
[47:18] I can act that can do certain things.
[47:21] He's happy playing this really soft character and the emphasis,
[47:24] like I said, is on his intelligence, not on his
[47:27] physique. Even though he was runner up Mr.
[47:29] Universe at one point, you know, and he was James Bond and we're
[47:32] talking about iconic movie characters.
[47:34] But what he does here and the fact that he allows that to
[47:37] happen is to me, spellbinding. I take, I've taken it for
[47:41] granted watching it so young, watching it in 89 and taking for
[47:44] granted how incredible this casting is and this parent is
[47:47] because there's not a lot of years between them anyway, so it
[47:50] shouldn't really work. But they have so much respect
[47:53] for each other. And Connery is, I think, over
[47:56] Ford wants to play and he's got a point to prove because he
[47:58] wants to play this against type against every single role that
[48:02] he's played before. And if I was sitting, I mean, if
[48:05] you're sitting now and you think, right, OK, we're going to
[48:07] do in the Indiana Jones film and we've just seen Raiders and
[48:10] we've just seen Temple of Doom, and we're going to have his dad
[48:12] in there, right? And it's going to be James Bond,
[48:14] right? Your first thing you write down
[48:15] is a huge set piece with him and his dad punching Nazis left,
[48:18] right and center, kind of swinging off each other and use
[48:21] the end to have the physicality of both of them.
[48:23] That's where he gets the punches from.
[48:24] It's not it's where he gets his softness from.
[48:26] It's where he gets his intelligence from.
[48:29] He's intelligence where he gets his library from.
[48:30] It's where he gets 70% of his archaeology from.
[48:33] That to me is unprecedented genius, the way that the flip
[48:38] that character of Connery on its head and not once do you
[48:41] thinking fend for himself. No, you don't think this is
[48:44] James Bond? He gets pushed back in that
[48:46] tank, you get money. He throws the bag and Indian
[48:49] throws the bag and he's on the board and he's just like throws
[48:51] it off. He's just this kind of bolshie
[48:53] dad who's always right but can't physically prove it.
[48:56] Doesn't stand up physically. He's just emotionally correct.
[48:59] You know what, it just works so well, even when you're writing
[49:04] the screenplay, right? You get to the end and you know,
[49:07] Marcus gets shot, so they have to team up together and sort out
[49:11] all the traps. And then Henry play kind of
[49:13] breaks free and shows that he's got this physicality and he uses
[49:16] the whip to swing across the code.
[49:18] None of that happens. Whereas in my head, that's just
[49:21] the most obvious thing to do and they don't do it.
[49:23] Keep it grounded to keep it level.
[49:25] And that's how, again, the longevity of the film, why it's
[49:28] lasted so long, because it's against type.
[49:30] And every time I see it, it's incredibly refreshing and I get
[49:32] something new from it every time.
[49:34] It's just beautifully, beautifully realized.
[49:37] Yeah, it is. I mean, it's just the way the
[49:39] characters are written is just wonderful.
[49:41] Yeah. As we've been alluding to and as
[49:43] widely known, Spielberg was a a massive James Bond fan.
[49:48] He always wanted to direct a Bond film.
[49:50] And he was twice rebuffed by Coby Broccoli when he went to
[49:53] him, cap in hand, asking to direct a Bond film.
[49:56] Yeah, after Jaws and after close Encounters.
[49:58] Wow. Crazy.
[50:00] How dare he? All right, how dare you?
[50:04] How dare he. George Lucas pitched the
[50:10] character of Indeed to Spielberg as being better than Bond.
[50:13] How thick. The irony is that the ultimate
[50:15] James Bond actor came on to be in These Dad, which works on
[50:18] obviously a number of levels, not least that indie may not
[50:21] exist if it weren't for Kobe Broccoli stupidness.
[50:25] Yeah. Exactly, and Spielberg said he
[50:27] had Connery in mind for Henry from the offset and contacted a
[50:30] friend of his, Peter Hyams, who is currently directing Connery
[50:33] in the Presidio, to put them in contact.
[50:35] Connery initially rejected the offer hand because he didn't
[50:38] like the way he was written and partly because Lucas is notes on
[50:41] Henry was that he was a Lawrence Olivier type of person, and Ford
[50:44] also said Connie thought the character was too thinly drawn.
[50:48] Yeah, he had reservations about the age difference as well,
[50:51] widely regarded that he was only 12 years older than Harrison
[50:55] Ford at this point. But the character was being
[50:58] written as being 29 years older than Indy, Right.
[51:01] So to age him up, he's got a white beard, whereas Indy is
[51:04] clean shaven. Costume designer Anthony Powell
[51:07] dressed him up like his grandfather and used tweed suits
[51:09] and that fishing hat. Yeah, love it.
[51:12] And he wore rimless glasses that were custom made because
[51:15] Spielberg wanted to see all of Connery's face on screen.
[51:18] Of course you got Connery's face.
[51:20] You want to see it all? Yeah, of course.
[51:22] And Connery only said yes after being allowed to alter the
[51:24] character somewhat. He added in jokes and lines of
[51:26] dialogue his notes to Spielberg. With that, Henry has done
[51:29] everything that India has done in the past and done it better
[51:31] if it doesn't get Connery. I mean, I don't see that on the
[51:34] screen really. But fair enough in his head,
[51:36] maybe. He does he just live with Elsa
[51:38] first? Well, exactly.
[51:40] And I imagine he's done it. It was rather wonderful.
[51:46] Yeah, really good. And if they couldn't get
[51:48] Connery, Gregory Peck was also in consideration, as was John
[51:51] Pertwee, Doctor Who, and Worzel Gummich fame, Sean Pertwee's
[51:56] dad. Yeah, yeah, it is.
[51:58] It seems like a really unusual choice.
[51:59] John Pertwee. I mean Gregory, the old Gregory
[52:02] Peck. That would work.
[52:03] That works for me. Probably a little bit too
[52:06] straight but still at work. John Pertwee.
[52:09] No, I don't see. Their thoughts, I don't.
[52:10] Think so. He just regenerated into Tom
[52:12] Baker when you get shot. A big scarf, yeah.
[52:17] That's a deep cut for all of you who fans out there.
[52:22] To end on Connery, here's a quote from Harrison Ford.
[52:24] It was just really great to work with an actor who doesn't give a
[52:27] shit. I don't mean about the craft,
[52:29] but about his ego. We just clicked.
[52:31] Yeah, you can tell. As is commonplace in the
[52:36] original Indie trilogy, low key actors are recruited for the
[52:39] more villainous roles. First up is Julian Glover as
[52:43] Walter Donovan, the American entrepreneur who dupes Indie
[52:46] into a quest for the grail, a duplicitous move executed with
[52:49] Elsa into as well. Yes, Glover is an English actor.
[52:53] He appeared in Count. I mean, look at his filmography,
[52:55] countless TV and movie roles. He's in everything respectively.
[53:00] He said that he wasn't happy with his accent in this film.
[53:03] I don't really have any problem with it.
[53:04] Kind of works for me. It's sleazy and it's kind of
[53:07] try. He's trying to disguise
[53:08] something, he's trying to hide something, and he's trying to
[53:10] hide the fact that he's a Nazi, which we'll find out at the end
[53:12] when you see he's bad. Sure it works for me.
[53:14] I've always thought he sounds a little bit Irish.
[53:16] When he's in The Cave, yes. When he's talking about, you
[53:20] know, they're welcome to have it.
[53:21] He just goes a little bit Irish. See what you mean now?
[53:27] I was thinking maybe. Yeah, yeah, yeah.
[53:29] You've nailed it there. I know exactly what you mean.
[53:31] Yeah, he does. Yeah.
[53:32] I don't think that he's like the perfect performance by any
[53:35] stretch. And he's quite forgettable,
[53:37] really. Yeah.
[53:38] A little bit like Paul Freeman's Belloc in Raiders.
[53:41] Maybe Freeman's. I think Freeman's got a bit more
[53:44] meat on the boards with the character.
[53:45] Yeah, but they're still not Lords for for either of them
[53:48] really. For their main villains, no.
[53:50] But maybe there isn't enough space in this film for him to be
[53:53] a tower and villain. But it's hard to be a tower and
[53:55] villain over Nazis, isn't it really?
[53:57] They're always the bad guys. Yes, they are.
[53:59] Yeah. Suppose that speaks for itself.
[54:01] Yeah. If he kind of hammed it up, it
[54:03] might have undermined the central story between Indy and
[54:05] Henry. I think he does just enough, and
[54:08] I do by his demeanor. It's not a huge leap for him to
[54:10] go from the good guy Donovan at the start to the one who shoots
[54:13] Henry in cold blood at the end. Yeah.
[54:15] No, it's just a little hop from one to the other.
[54:18] Yeah, it works. By that, Glover said.
[54:20] I don't know if Donovan was a nice man, but not many people
[54:23] can say they shot Sean Connery. I'll clear it up for you right
[54:26] now. Julian Donovan is not a nice
[54:28] man. Straight up.
[54:32] Nazi is what he is. His nefarious partner in crime,
[54:37] to a degree, is Doctor Elsa Schneider, played by Alison Duty
[54:41] Westie. Yes.
[54:42] Keep yourself a beer here. Just wonderful.
[54:45] She is. She is.
[54:47] I really, really like how complex Elsa is as a character.
[54:50] She flip flops between her Nazi allegiances and her burgeoning
[54:54] feelings for Indy, which I do buy.
[54:57] Maybe a criticism is that she easily flip flops between the
[55:00] two, so we never quite know where her heart lies.
[55:02] Maybe until the end. She's absolutely convincing in
[55:06] that scene where she dupes Indy in the castle where she's held a
[55:09] gunpoint and then steals the diary.
[55:11] She's brilliant there. I like the writing of the
[55:14] character and I think that Duty doesn't get the praise for
[55:17] pulling off this almost dual role.
[55:19] I genuinely think she's excellent here and doesn't get
[55:22] the praise. Definitely in that rally as
[55:24] well. When the beer and the poops and
[55:25] she's like, all I have to do is scream.
[55:27] She's just really conflicted. What am I supposed to do?
[55:31] Who do I want to be with? It's not just about the numbers,
[55:35] bad guy or fan fatalities. I'll know real complexities the
[55:38] character. She wasn't actually first choice
[55:41] or for Elsa, that was an actress who is probably best known for
[55:44] her work on UK television, Amanda Redmond.
[55:47] But film wise, you might recognise her for her part in
[55:49] Jonathan Glaze's Sexy Beast. But Redmond has a paralyzing
[55:53] fever of rats, so she just pulled herself out of the
[55:56] running straight away when she got that bit in the script.
[55:58] Oh, really? Yeah, she plays Ray Winston's
[56:00] wife, doesn't she? In sexually, yeah.
[56:03] German actress, Good run. The Greeb came in to read but
[56:06] was rejected by Spielberg because she looked just like Amy
[56:08] Irving, Spielberg's ex-wife. Too much too soon, I think.
[56:13] Just get rid of that. Yeah.
[56:14] Just Lucas in the corner, just shaking his beardy face.
[56:19] Allison Duty came on board. Haven't made a debut in A View
[56:21] to a Kill, which is wonderful. She was 21 when this film was
[56:24] shot, which makes her a full 25 years younger than Harrison
[56:27] Ford. Wow.
[56:28] Yeah, I. Don't think that age different.
[56:31] Is that apparent to me? No.
[56:32] I don't think it is. It's abhorrent.
[56:38] So a good supporting cast, not forgetting Denim Elliot and John
[56:41] Reese Davies. But Last Crusade is built on
[56:44] that dynamic between Ford and Connery.
[56:46] Possibly the most loved father son depiction in cinema would.
[56:49] Have said so. Yeah, probably.
[56:57] All the right movies. We'll be right back.
[56:59] Thank you for supporting us by listening to the sponsors for
[57:01] this episode. Thanks for listening to our
[57:05] sponsors. And now it's back to the show.
[57:11] The middle. We're back in Austria for the
[57:15] second act of The Last Crusade, which sees the Jones boy still
[57:19] at gunpoint. But Indy has an ears up his
[57:21] sleeve and what follows is one of the best visual gags in
[57:26] cinema history. Oh yes, Yep.
[57:29] Indie laying it on real thick. Marcus is on the trail.
[57:33] He knows a dozen languages. He'll blend in, disappear.
[57:36] You'll never see him again. With any luck, he's got the
[57:39] grill already. Then hard cut.
[57:42] Does anybody here speak English? It's that camera just slowly
[57:47] moving in before just a dramatic.
[57:49] He goes to a low angle just for the drama.
[57:51] It's massive. Yeah.
[57:53] Totally works. Marcus bumbling around a dusty
[57:56] Sun Bleach train station. And if we had any doubts about
[57:59] Spielberg trying to recapture the Raiders magic, it's
[58:02] confirmed in this scene when Salah shows up in a town that
[58:05] just looks like the Cairo set from Raiders.
[58:07] Yeah, he's such a welcoming presence on screen, so warm.
[58:10] And now he's teamed up with Marcus.
[58:11] There's no stopping him. And Marcus reissues him.
[58:14] He says it's just you. He said yes, but everything is
[58:16] under control. But from when Salah shows up,
[58:21] this is one minute comic master class from Denim Elliot hitting
[58:26] so many notes when he's making his way through the crowd, he's
[58:29] confronted by a woman with a chicken, says no thank you
[58:32] Madam. A vegetarian.
[58:36] Does anybody understand a word I'm saying?
[58:44] I was howling at this. It's his physicality.
[58:47] When he kind of when Salah asks him where we're going, he says,
[58:50] well, this map should tell us. And he pulls it out of his
[58:52] inside pocket. And then he hastily shuffles it
[58:54] back in. When the guy pretends in the
[58:56] Museum of Antiquity shows up. And then his time and his time
[59:00] is perfect. When the guy bows down and kicks
[59:03] his head back. It's one of the funniest one
[59:07] moments in any film, certainly in Spielberg's career.
[59:10] It's your servant, Sir, and I'm his not to be Overshadows as
[59:18] well. Salah smashes the guy in the
[59:19] face, asking for his papers. Egyptian mail, morning edition.
[59:23] Just finish reading myself. Run.
[59:24] Run. Yes, yes.
[59:29] Did you say run? Good morning, Run.
[59:34] So good there is no music. I mean, why on earth the back of
[59:40] that truck is set up as a facade to look like the entrance of a
[59:43] house escapes me. It's very poppy.
[59:45] Yeah, it's just it Hawks back that bit and rareness as well
[59:47] doesn't. Nobody hates it.
[59:49] But it really fits the tone of this scene.
[59:51] And when he bundles them in, what turns out to be the back of
[59:54] that truck. So I was kind of like goes
[59:55] towards the camera, like, come on.
[59:58] With the 2. Fists.
[59:59] Yeah, come on. Scrappy do.
[1:00:04] Scrappy Dawn. This scene is just absolute.
[1:00:08] I mean a master classroom Denim Elliot.
[1:00:11] Just. So, so, so funny.
[1:00:13] Yeah. Well, the laughs just keep on
[1:00:15] coming, because then you've got Henry and Indy tied together,
[1:00:19] Henry just grumbling away to himself, whore and tolerable
[1:00:21] like a proper old dad. Like, you know that's your dad
[1:00:26] when you know he's being served coffee and they've got to put
[1:00:29] the milk in raw. This isn't tolerable.
[1:00:30] Yeah. And then, like when Elsa says a
[1:00:33] goodbye, it's like, I don't know how they've pulled this off
[1:00:35] because it should be so the revelation that Elsa has slept
[1:00:39] with the pair of them, but it's not.
[1:00:41] It's just really funny. It's really funny and that
[1:00:45] little smirk Elsa gives herself before she like kisses Indy.
[1:00:48] You're just saying well fair player.
[1:00:50] But when Elsa whispers and in DZ how wonderful it was, but Henry
[1:00:53] thinks she's him and added him. Oh thank you it was rather
[1:00:55] wonderful. I mean, it's the comic beats the
[1:00:59] comic time and a wonderful It's another example of how hilarious
[1:01:02] House and Ford is just through his facial expression, just
[1:01:05] three turns his head to glare at Henry like and then Henry
[1:01:09] interns get annoyed because Elsa kisses Indy but doesn't kiss
[1:01:12] him. Like none of this should work at
[1:01:14] all really, yet somehow it doesn't.
[1:01:16] It works beautifully, but it's then glorious to see them try to
[1:01:18] escape, because what's really great here is the both kind of
[1:01:21] crap at this, like Henry just drops the light straight away
[1:01:24] and the look on his face like, hmm, what should I do?
[1:01:27] I'll try blown on it. Let's see what the floor's on
[1:01:31] fire and the chair again, just comedy beats of the highest
[1:01:37] order. It's the same as the revolving
[1:01:39] fireplace for the Nazis on the other side that you already
[1:01:41] mentioned. That great movies like Dead What
[1:01:43] Dead What Dead What the Fireplace.
[1:01:47] Reply place the Nazi woman just like giving them that smile
[1:01:51] before yelling it's. I mean the comedy beats are
[1:01:55] quite basic. Put the executor to perfection.
[1:01:59] The also in this scene, very, very prominent is the use of the
[1:02:03] sound design, which is obviously a commonplace in the indie
[1:02:06] series. Big bold sounds.
[1:02:08] Yeah, yeah. Sound designer Ben Burke or
[1:02:10] created when pulling the sounds together for this film, 800
[1:02:13] unique sounds were used, including the sound of friction
[1:02:16] against Styrofoam cup, which was digitally enhanced and used for
[1:02:20] the fire in this scene. Wow, great.
[1:02:22] Also other ones like the sound of a balloon being rubbed made
[1:02:25] of the sound of the earthquake tremors of the finale right and
[1:02:29] cluck and chicken sound was speed up and used as the chatter
[1:02:32] of rats in the catacombs. OK, I'm vegetarian.
[1:02:39] But this whole sequence, I mean, it is, it's comedy basics, but
[1:02:42] it's just done so well and it's so charming.
[1:02:45] Yeah. Yeah.
[1:02:46] And again, it goes from humor to set piece, set piece to humor,
[1:02:49] humor within the set piece. And this is another great, great
[1:02:52] moment, a great action sequence from the time where he's like
[1:02:56] just so cocky. You know, if you sit down, the
[1:02:58] solution presents itself, falls down the stairs.
[1:03:01] It's just so good. And that is so like 3 Stooges
[1:03:04] kind of kind of comedy. It shouldn't really work, but
[1:03:07] it's so funny. And then he's the speedball.
[1:03:10] He throws him the bag. I always loved that Penny say,
[1:03:12] oh, for fuck's sake, Dad throws it back.
[1:03:15] No, we're not taking the boat. And then there's that great
[1:03:18] reveal where they just come out-of-the-box and they're in
[1:03:20] that, the motorbike with the sidecar.
[1:03:22] And it's like Indy's being crap up the now.
[1:03:24] But this is what he's really good at.
[1:03:25] We've seen him do this many times.
[1:03:27] So he's got to impress his dad here.
[1:03:29] This has got to be good. And he actually turns into a
[1:03:31] night. I mean how he pulls down that
[1:03:33] flagpole just by putting his arm out is ridiculous, not damaged
[1:03:38] in the slightest, but just pulls it down.
[1:03:40] Great. I'll just let that slide.
[1:03:41] So many things you let slide here and he's like literally
[1:03:44] turns out when night by joust and one of the Nazis off of more
[1:03:47] bike. So he's dad's pretty impressed
[1:03:49] with that because the Hawks back to something he understands.
[1:03:51] But when they just keep piling on top and he throws that, you
[1:03:55] know, the head, the bit of the flagpole into the spokes and the
[1:03:58] bike goes up. It's so fantastic.
[1:04:01] It's so rewarding. Watch it again, though.
[1:04:03] It's clearly just a dummy in this in on the bike.
[1:04:05] And he explodes as they drive past.
[1:04:07] Fine, not a problem. Oh, it looks great.
[1:04:09] And that that is great. But it's overshadowed by that
[1:04:12] moment where he's laughing and he's this is what I do.
[1:04:15] Look how good I am, how good I am just blowing him up.
[1:04:20] Did you see that explosion? He starts just winding his
[1:04:22] watch, so unimpressed, just like, yeah, call this
[1:04:28] archaeology. Yeah, rubbish.
[1:04:29] That was rubbish. But it's after the sequence
[1:04:33] again, because we've got the humor, we've got the action, and
[1:04:35] then we've got the emotion. And it goes so far into
[1:04:38] discussing, you know, how he was let down as a child, and he
[1:04:42] doesn't understand it. Neither did mom.
[1:04:44] He said, well, yes, you did. Only two.
[1:04:45] Well, he's that serious about it.
[1:04:47] And it puts that in context of like, that's what he cared about
[1:04:51] so much that there was his wife was dying and he just still
[1:04:55] didn't tell him because this is how much he believed in this
[1:04:57] whole question. And it brings that round and how
[1:04:59] much he's neglected in India because of that.
[1:05:02] But then he gets to cement his belief of how and why it's so
[1:05:06] important with a crucified Jesus behind him out of focus when he
[1:05:09] gives the speech in the psycho about the armies of darkness are
[1:05:13] going to March across the face of the earth.
[1:05:14] Like it's so important. It's just so well delivered and
[1:05:19] he gives up and just has to stop believing in what his dad
[1:05:21] believed in all of this regret that he's got and how neglected
[1:05:24] he was as a child because of this thing.
[1:05:26] He's now got to try and understand it and he does.
[1:05:28] He gives in to him and he goes for it.
[1:05:30] And I just think that's so important.
[1:05:32] Hilarious. They've slept with the same
[1:05:34] woman. He sets fire to a castle.
[1:05:36] They come out of the castle, they're going to go to a boat.
[1:05:37] No, they're on a side car and a motorbike.
[1:05:40] He just blows up some Nazis. And then they just give a whole
[1:05:42] back story of his full childhood and now he's dedicated to his
[1:05:44] dad's quest. Yeah, amazing.
[1:05:46] It really hits emotionally, that whole speech, that interaction.
[1:05:50] Yeah, and that motorbike cheer scene that was inserted well
[1:05:53] after production had wrapped because during previews, the
[1:05:56] film was testing through the roof with audiences.
[1:05:58] But both Lucas and Spielberg felt the film was missing
[1:06:01] something at the end of the second act.
[1:06:02] So that's why they came up with this cheer sequence, which was
[1:06:05] shot in Fairfax, Northern California, which is near where
[1:06:07] Lucas lived. I think this felt too talky
[1:06:13] without some action. It needs it in there.
[1:06:15] It doesn't. Need it.
[1:06:16] Yeah, it does. It does.
[1:06:17] And it feels a little bit in spirit to the bike chase scene
[1:06:21] from The Great Escape. Definitely.
[1:06:22] Yes, very similar. Yeah, really.
[1:06:24] Does yeah. So the Joneses are free and on
[1:06:26] their way to Berlin to retrieve the diary.
[1:06:31] Considering the being chased by an army of Nazi troops, India
[1:06:35] and Henry make less than low key travel plans and border Zeppelin
[1:06:39] out of Germany. That'll do it.
[1:06:42] Yeah, Matt, you're up. I mean, it's just so much fun
[1:06:46] spending time with these two together.
[1:06:47] And it continues on the Zeppelin.
[1:06:49] I think it starts with a really underappreciated side guide
[1:06:52] because there's two men reading newspapers in a very suspicious
[1:06:56] manner. You've got them held up right in
[1:06:58] front of the faces and you think, ah, there they are,
[1:06:59] that's Andy Henry until injuring Henry walk right past them.
[1:07:03] I think Scott doesn't get enough respect for.
[1:07:05] I think that's really funny. But once on the Zeppelin, I just
[1:07:08] love this because it balances as it has been so far.
[1:07:11] To be fair, it balances the came out with some lovely character
[1:07:13] beats. I mean, Indy still so desperate
[1:07:16] to get his dad's approval, tell him that they've made it, but
[1:07:19] Henry just constantly cutting them down to size.
[1:07:21] When we're born with Germany behind us, then I will share
[1:07:24] that sentiment. And then just back to his paper,
[1:07:26] Right. Thanks Dad.
[1:07:27] No appreciation I've done so far.
[1:07:29] Some kudos just. Yeah, anything.
[1:07:31] End of it just. A Well done whatever, yeah.
[1:07:34] Yeah, and then it leads in there.
[1:07:36] Arguably maybe the most famous moment in the film Indy.
[1:07:39] He sees Vogel coming on board, put his arm around the Stuart
[1:07:43] obviously somehow just knocks him out I guess and gets his
[1:07:45] uniform on before. Punching.
[1:07:47] Vogel, which fits. Yeah.
[1:07:49] Fits really well and obviously Vogel's on there.
[1:07:53] He's checking everyone one by one.
[1:07:55] Love that bit where he just uses his cane to fall on Henry's
[1:07:58] newspaper. He's really confused.
[1:08:00] And he follows it down. And follows it.
[1:08:02] Down. Yeah, keeps reading it.
[1:08:04] Have you noticed that his newspapers upside down?
[1:08:05] Yeah, yes. Yes, as well, yeah.
[1:08:10] Yeah. I mean, it's just full of those
[1:08:11] beautiful little moments. And then obviously when Indy
[1:08:13] punches Vogel and throws him out the window, no ticket.
[1:08:17] Everyone goes into that panic. I mean, ticket, ticket, ticket.
[1:08:21] I mean, it's just a magnificent gag.
[1:08:23] That one is perfectly played by Ford, but it's perfectly set up
[1:08:27] and executed by Spielberg. Yeah.
[1:08:29] But then you get a little bit of town time here for just a couple
[1:08:32] of minutes, and I think the writing needs it.
[1:08:35] You need the film to just breathe at this point, to really
[1:08:38] establish firmly that relationship between Indy and
[1:08:41] Henry. Make it more about the fact that
[1:08:43] they've both set without set. And it's that line from Indy
[1:08:45] about last time I had a drink together, he had a milkshake.
[1:08:49] And the fact that even now, Henry is still barely listening
[1:08:51] to him. He's just completely absorbed in
[1:08:53] that diary. I mean, that tells you
[1:08:54] everything. But I think when Henry defends
[1:08:57] himself, do I detect a rebuke? I think he does have a bit of a
[1:09:00] point, like having a father who doesn't tell you to eat up, go
[1:09:03] to bed, do your homework does teach yourself reliance to a
[1:09:06] degree that's really laudable and good parenting.
[1:09:09] But not when you take to the point that Henry obviously did
[1:09:12] and where he just created this fast distance between the pair
[1:09:15] of them. Yeah, it's more of a neglect,
[1:09:17] isn't it, than he's. Not a parent, is he?
[1:09:19] No, he's not doing it on purpose to kind of to help them grow.
[1:09:22] He's just doing it because he's neglecting them.
[1:09:24] Yeah, yeah. Exactly.
[1:09:25] So you know, it's a little bit roast.
[1:09:26] Tinted glasses from Henry's perspective.
[1:09:28] Because. You know, you don't want your
[1:09:30] children to get independent that quickly.
[1:09:32] You always want them to rely on you for some things in life,
[1:09:34] which Henry doesn't get. And I think making that point in
[1:09:37] an Indiana Jones movie without absolutely hammering it home and
[1:09:40] it's still feeling part of and out of, that's really, really
[1:09:43] impressive. Yeah, it is.
[1:09:45] And Connery said when? And he says, you never taught
[1:09:47] me. I say, well, you weren't
[1:09:49] interested until you were 19, which is right below the belt,
[1:09:52] but probably right on the north. It's a great line as well.
[1:09:56] It's very funny, very dismissive.
[1:09:58] Yeah, yeah, yeah. You left when you were becoming
[1:10:00] interested, when I was an adult. Sure.
[1:10:06] Yeah. Like that's Indy's fault, yeah.
[1:10:09] Just to go back to that bit where he smashes Vogel up and
[1:10:12] throws him out the window. I mean, I mean, how is he forced
[1:10:16] to get away with this just. Sits at the table and just has a
[1:10:20] drink. And just has a drink.
[1:10:21] It's him. He's on there.
[1:10:24] Like. He's just Vogel, apparently.
[1:10:25] Yeah, not only like a Nazi guard.
[1:10:27] And he's like, what? A flight attendant.
[1:10:30] He smashes him in the face and then bundles him out of a
[1:10:32] window. I don't.
[1:10:35] Think Zeppelin's take off particularly quickly either I
[1:10:37] would have. No, no.
[1:10:38] That scene when Vogel's just raising his first, that's great.
[1:10:45] Scooby-doo. Isn't it and?
[1:10:50] The sentimentality in that moment that you talked about
[1:10:52] Matt, the rather than touching nature of the interaction maybe
[1:10:56] slightly tainted when you find out that both Connery and Ford
[1:10:59] were not wearing trousers out of shot when they when they filmed
[1:11:03] this scene of. Course not.
[1:11:04] Why? Why should?
[1:11:05] They why should they? Why should they?
[1:11:06] It is set in winter, of course, but the film did Spain in the
[1:11:09] summer and the set was boiling hot, right, Right, Connery said.
[1:11:12] I'm just going to sweat. So I'm, I'm just going to take
[1:11:15] my pants off. Ford followed suit, obviously.
[1:11:18] Tweed. Yep.
[1:11:19] Tweed. Tweet a killer in Spain It's.
[1:11:22] A killer in the in the summer. Yeah, it is.
[1:11:24] Yeah. From the Zeppelin, Indy and
[1:11:27] Henry make their move, which is beautifully visualized by the
[1:11:30] shadows moving when the plane turns around.
[1:11:32] Yeah, great visual story is him. They've taken us back to
[1:11:35] Germany. I love that.
[1:11:37] Yeah, I love it. Whom?
[1:11:38] And then the music. Just kind of.
[1:11:39] Yeah, the escape on what can only be described as a toy
[1:11:45] plane, despite how much is at stake here as well.
[1:11:49] There's just so much joy to be had in the cockpit of this
[1:11:51] plane. It opens with Henry as proud as
[1:11:54] can be when he says, I didn't know you could fly a plane.
[1:11:57] And he's like, he's beaming, tapping on the shot.
[1:12:00] I didn't know you could fly a plane.
[1:12:02] Good, he's a schoolboy. And you know, so this is going
[1:12:05] to be obviously plain sailing, but then Indy's got the most
[1:12:10] pitch perfect reply. Fly yes, Land no.
[1:12:15] And then Henry fear completely changes.
[1:12:17] Yeah. That's a really funny line.
[1:12:19] That's great writing. It is great.
[1:12:21] And then they detach themselves from the Zeppelin and Indy turns
[1:12:25] around and gives Henry a big thumbs up.
[1:12:28] As he turns around, he notices 2 Luftwaffe coming awards and.
[1:12:31] Immediately, yeah. So it's absolute life or death
[1:12:37] stuff. Indie screaming screaming at the
[1:12:40] top of his voice. 11:00 And you too excited?
[1:12:43] Fucking watch Calm as you like what happens at 11:00 and Indie
[1:12:49] screams The Wall. 12/11/10 11:00 Fire.
[1:12:58] But it's another great comedy bit.
[1:13:00] Henry's kind of getting into this airborne battle stuff, but
[1:13:03] he gets a little bit over exuberant and obliterates the
[1:13:06] tail of the plane. It's beautiful, but a bastard
[1:13:10] that he just pins it on the other guys.
[1:13:14] I'm sorry, son, you're going to. Pin on anyone.
[1:13:18] Pin on the Nazis. Yeah, because you're always
[1:13:21] going to buy that. Or the Nazis did it.
[1:13:23] I did that. What a bunch of bastards.
[1:13:25] Nobody will disbelieve that. Contrary to belief, though, he
[1:13:29] does actually land the plane, which is great, which is
[1:13:32] wonderful. Then you just get that great
[1:13:34] moment with this, just a guy just changing the wheels.
[1:13:37] He's got to put a hubcap on, and it just speeds away and they're
[1:13:40] in there and you can tell. And this shot is beautifully
[1:13:43] done and beautifully shot by Douglas Slowcomb as well.
[1:13:46] You can tell Spielberg's went Douglas, North by Northwest.
[1:13:49] Yes, we do that. And he's right.
[1:13:51] Yeah, we could do that. And it's just the gunfire, and
[1:13:54] it's serious. And then that bomb just dropped.
[1:13:57] Oh, so good. Because he says Henry goes.
[1:14:01] Well, they don't come any closer than that.
[1:14:03] It's mash. The land and the creator, it's
[1:14:09] just wonderful, really great visually.
[1:14:12] And this is one of my favorite exchanges of the whole film of
[1:14:15] the whole franchise. And they just land down and the
[1:14:18] planes coming in, circling around and coming back for them.
[1:14:21] And Henry says these people are trying to kill us.
[1:14:23] And he's like, I know dad. It's a new experience for me.
[1:14:27] And he's like, it happens to me all the time and then pulls his
[1:14:29] hat down. I love that because he's like,
[1:14:31] look, this is my world and you're in it now.
[1:14:34] And this happens to me all the time.
[1:14:35] And he's just furious about it. And then he can't save the
[1:14:38] situation. He doesn't know how to do it and
[1:14:40] it takes Henry's intelligence and he just sees the birds on
[1:14:42] the beach and I'm just like. And then he just.
[1:14:48] Turns and he's got that umbrella over his shoulder and he's just
[1:14:51] casually walked on the beach. And I honestly could I fill up
[1:14:54] every single time when he's. I suddenly run by Charlemagne.
[1:14:58] And it's like, but when he just delivers that line in my armies
[1:15:01] be the rocks and the trees and the birds in the sky and it's
[1:15:03] like, oh, God, yeah, he actually does that.
[1:15:06] He's using his intelligence in a physical way to get us out with
[1:15:09] this problem. And it's just the way he walks
[1:15:11] past him and Ford just looks at him.
[1:15:13] But he's got this look of like or almost of like, oh, what have
[1:15:17] I done? I should have listened to this
[1:15:18] guy. And he's got he's got some
[1:15:21] chops. And if only I'd thought the way
[1:15:23] I could have learned a lot more from him.
[1:15:24] And you can see this like regret and this almost like, right, I'm
[1:15:27] going to start taking this seriously now.
[1:15:29] You know, from the escape and the castle to this point, now it
[1:15:32] is just an absolute bonding session.
[1:15:34] And it just accumulates in this wonderful moment on a beach
[1:15:38] that's so recognizable to me. It could be down, you know, one
[1:15:41] of our beaches just down the road.
[1:15:42] It looks very very similar. To.
[1:15:45] Like where I grew up. So it felt like it was home and
[1:15:47] it felt like very, very comfortable.
[1:15:50] Just so, so well thought through.
[1:15:52] Brilliant. It's Henry stepping up in Indies
[1:15:55] world as well, isn't? It is, yeah.
[1:15:57] Yeah. And they're going.
[1:15:58] Wow. OK, yeah, I need to step up and
[1:16:00] he's. Got smart?
[1:16:00] Yeah. And in the speech scene, real
[1:16:03] seagulls we used originally but apparently they are the most
[1:16:05] stubborn of all birds and there's wooden budget so they
[1:16:08] drafted in doves to replace them instead.
[1:16:10] Right. I mean, we know that Only two.
[1:16:11] Well, seagulls, yeah. Bastards.
[1:16:14] Yeah, so by hook or by crock, Indian Henry of A the icy grip
[1:16:18] of the Nazis once again and are headed for Alexandre.
[1:16:22] Alexandre, the crew. As you come to expect with a
[1:16:31] Spielberg Lucasfilm production, Last Crusade has a top notch
[1:16:35] crew work and at the height of their game.
[1:16:37] We're starting off with our thoughts on Geoffrey Baum's
[1:16:39] screenplay, of which there is a complicated back story.
[1:16:42] OK. But our thoughts on the
[1:16:44] screenplay first. And what I like is the emotion
[1:16:47] in the film, which, you know, we've been talking about the
[1:16:49] father son relationship, but that emotion is all the more
[1:16:53] unbelievable considering it's a globe trotting romp with an
[1:16:57] endless roster of excitement, set pieces and comedy bits.
[1:17:01] It's not overly sentimental either, but there's something a
[1:17:04] lot deeper going on in this instalment.
[1:17:07] Quest for the grill becomes metaphorical of a quest for a
[1:17:09] real relationship between father and son.
[1:17:11] We've talked about the touchstone moments in this stunt
[1:17:13] relationship already and there's more to come.
[1:17:16] But the opening interaction between the young Indian and his
[1:17:18] dad, the conversation they have in the Zeppelin, the I thought
[1:17:21] I'd lost your boy bit, the Let it go moment at the end.
[1:17:26] There's a beautiful relationship arc happening between these two
[1:17:29] characters almost in secret because it kind of goes
[1:17:32] unnoticed as it's masked by this RIP roaring globetrotting
[1:17:36] adventure that that they're on in search of the Grail.
[1:17:38] It's wonderfully done, really subtle, and the writing of Indy
[1:17:42] as a character makes so much more sense with the introduction
[1:17:45] of Henry, because we've been on the trail with Indy for two
[1:17:48] films before this and we haven't even stopped to think what his
[1:17:51] motivations are. Why?
[1:17:53] Why would we really? But in Last Crusade, I think
[1:17:55] it's safe to assume that Indy has almost certainly chosen his
[1:17:58] career path to seek the approval of his dad, forever on the
[1:18:03] search for historical artifacts, the most precious of which has
[1:18:06] always eluded him, a loving relationship with his father.
[1:18:09] That great writing it is. I mean, the dialogue is
[1:18:12] fantastic. We'll talk about that later.
[1:18:14] But the narrative beats a really, really good.
[1:18:16] They're very strong writing in a blockbuster like this, it's it's
[1:18:19] not commonplace. No, definitely not.
[1:18:22] Matt, your thoughts on the writing?
[1:18:23] It's one of those pieces of writing that looks effortless
[1:18:27] and you think it's easy because they've already established this
[1:18:30] character, but it's anything but, really.
[1:18:32] And I think the further sequels definitely prove that.
[1:18:35] And the bit I want to focus on is one of the bits that is I
[1:18:38] think one of the toughest things to get right, which is to
[1:18:42] establish the Mac Guffin and the puzzle elements of the plot and
[1:18:46] how they get there. Because off the top of my head,
[1:18:50] it'll be interesting. What you guys think is, can you
[1:18:52] remember what the Crystal Schools do in Kingdom with the
[1:18:55] Crystal School? No, no, no, exactly no clue.
[1:18:59] No clue. And remember what the dialogue
[1:19:01] Destiny does, but I can't remember how they track it down,
[1:19:04] what clues lead to it. This does both brilliantly.
[1:19:07] The Holy Grail with eternal life to whoever drinks from it.
[1:19:10] That's great, that's easy to understand, totally
[1:19:13] understandable stakes in one line.
[1:19:15] And it's the same with how they find it.
[1:19:17] The clues are easy to follow and easy to comprehend and it links
[1:19:20] together beautifully as in what the on what the mean.
[1:19:23] So there's the wonderful sense of you're working it out along
[1:19:26] with India and everyone else. You're discovering the path in a
[1:19:30] way that takes you with it. Finding the markets in the
[1:19:32] library. Ah, that's where the 10 is.
[1:19:34] I get that. That's where you go.
[1:19:36] I understand what they're looking for.
[1:19:37] The clues have to get you involved.
[1:19:39] And maybe the biggest compliment I can pay the script in these
[1:19:42] terms, it makes Take Control, called Robbins, look really
[1:19:45] dramatic and really interesting when he's doing.
[1:19:48] Oh shit, yeah, that's the next clue.
[1:19:49] That's brilliant. Like, say, compared to the two
[1:19:52] sequels, which are just so muddled in terms of how you
[1:19:55] follow along the adventure and what the stakes are and what
[1:19:57] Indies looking for and why is it important?
[1:19:59] This is just an absolute class above.
[1:20:02] Well, as you mentioned the Mcguffin there, Matt, I think
[1:20:05] it's right that we have our third and final question from a
[1:20:07] Patreon of ours, and that is the legendary, by all accounts,
[1:20:12] Viper 26. Hello Viper 26.
[1:20:15] I thought Viper 26. Hello Viper 26, great name.
[1:20:19] Obviously he's Incognito, Westy. That's fair enough.
[1:20:21] I wish I thought it was his real name.
[1:20:22] I wish my real name. Well, Viper says if I may call
[1:20:25] him Viper, he says In Raiders, the air plot is the pursuit of
[1:20:29] the arc. The B plot is the relationship
[1:20:30] between Indian Marion. In Doom, the air plot is the
[1:20:33] pursuit of the Shankara Stones. The B plot is the relationship
[1:20:36] between Indian Short Round and Indian Willy and Last Crusade.
[1:20:39] The Air pot is the relationship between India and his father.
[1:20:41] The B is the pursuit of the Holy Grail.
[1:20:43] This reverses the plot priorities of the 1st 2 movies,
[1:20:46] making relationships the primary plot.
[1:20:48] Do you think this plot focus reversal changes Last Crusade
[1:20:51] for the better or worse compared to the other two films?
[1:20:54] Matt. Wow.
[1:20:55] Digest that. Yeah, very good question.
[1:20:58] There's going to, I just need to work away.
[1:21:00] He's going to this OK, I think for the better if that's what
[1:21:05] he's asking. Because I think there's only so
[1:21:07] many times you can have a mystical artifact with the power
[1:21:11] to destroy civilizations be the focus, and it's still have the
[1:21:15] same level of interest or tension.
[1:21:17] And you need a story that wraps up Indies character arc.
[1:21:21] Readers, the character out there, by the end of that film,
[1:21:24] he's a believer. But by the start of this film,
[1:21:27] he's lost Marion somehow, long way Temple of Doom, his
[1:21:30] character Orcas. Basically, it stops him being a
[1:21:33] selfish prick who's just about fortune and glory and he
[1:21:36] realizes there's other things to focus on in the world.
[1:21:38] So what does Crusade do and where can it take?
[1:21:41] And that's new. And I think Crusade story is
[1:21:43] about him finally finding his place in the world and finding a
[1:21:47] relationship that ultimately is more important than any of the
[1:21:51] treasure he could find. And the interest in Spain is
[1:21:53] that it's not a romantic relationship.
[1:21:55] It isn't. Marion's been kidnapped.
[1:21:57] He's got to find Marion, it's father.
[1:21:59] Repairing that above reach now for the Grail at the end is the
[1:22:02] biggest revelation. India as a character could have
[1:22:05] leaves the grip. Your dad's holding your hand.
[1:22:07] What are you going to get for it?
[1:22:08] What? Are you going to get for it?
[1:22:10] Need that hold your hand is much more important.
[1:22:12] And if we didn't have the two further sequels, I think it
[1:22:15] would be very easy to assume once he's repaired this
[1:22:18] relationship with Henry, that's it Randy.
[1:22:21] He just hangs up his adventure and boots.
[1:22:23] He just stays as a professor. So I think making the
[1:22:26] relationship the folks of the plot, it's probably why the
[1:22:29] film's as good as it is. I agree.
[1:22:31] Yeah, I think it's a really good question.
[1:22:32] I think what it's one that feeds into what I what I was saying
[1:22:35] about what I like about the writing as we've been talking
[1:22:38] about. It's very reminiscent of
[1:22:39] readers, but separated by this emotional element, emotion which
[1:22:43] I think is very relatable. It's classic Spielberg and it
[1:22:46] feeds right into the final sequence for me.
[1:22:49] So 3 tests that India has to complete have a double mean.
[1:22:52] Obviously there are high stakes because you know, it's death
[1:22:55] defying stunts and tricks and traps.
[1:22:58] But now he must get through them, otherwise Henry's going to
[1:23:01] die as well. His dad's going to die.
[1:23:03] That level of emotion is not evident in the first two films.
[1:23:06] No, no. In Raiders, for example, the
[1:23:08] quest for the ark is just that, the quest for an object.
[1:23:10] But he, the grill, eternal life, enlightenment, illumination,
[1:23:14] these all tie into or could be metaphorical of a meaningful
[1:23:18] relationship between father and son.
[1:23:20] Yeah, I think it works for the better and separates Crusade out
[1:23:23] not just as a Raiders clone. Yeah.
[1:23:26] Yeah. Geoffrey Boehm said, the writer.
[1:23:28] He said given the fact that the third film in the series, you
[1:23:30] couldn't just end with them obtaining the object.
[1:23:33] That's how the first two films ended.
[1:23:34] So I thought, let them lose the grill and let the father and son
[1:23:37] relationship be the main point. Yeah.
[1:23:40] Westie, your thoughts? Yeah, I mean, the do lose the
[1:23:43] first two objects in the first two films and then you never get
[1:23:45] to take it away. You always, you know, then do
[1:23:47] me. He gives the rocks away and then
[1:23:49] the arc gets taken off. But I think the difference here
[1:23:52] is that Henry's done the work. It's not the process of finding
[1:23:55] the Grail, it's the process of why do we need to, what's the
[1:23:58] purpose of it? And their relationship is the
[1:24:01] Grail. Like you both you guys have
[1:24:02] said, I completely agree with everything that's been said.
[1:24:04] Their relationship is the Grail. The seal that the grail moves
[1:24:07] across is memory. If you forget what that is, that
[1:24:10] the, you know, memory lives forever.
[1:24:12] Once you create that memory, it stays with you and it can move
[1:24:14] with you. But it's your seal.
[1:24:16] If you let go of that, if you choose to forget about it, that
[1:24:18] it loses all of its power. And I think that's really
[1:24:20] important. All of the trials that Henry's
[1:24:22] written down, he's researched his whole life, are them
[1:24:25] understanding each other, are them working with each other.
[1:24:28] You know, it's like life advice that he's finally given him that
[1:24:30] he hasn't been able to take. But he gets in these trials and
[1:24:33] the illumination that he's looking for is the relationship.
[1:24:35] You know, it's that's what it's all about.
[1:24:37] And the grail is just a signifier of this.
[1:24:39] So I think because of the question and the way it's
[1:24:41] worded, and it's a great question, but I think it answers
[1:24:44] its own question. It's that the Mcguffin is them.
[1:24:47] The grail isn't the Mcguffin, it's the relationship.
[1:24:49] That's the whole point of the film, I think for me.
[1:24:52] Yeah, it does make the film even better.
[1:24:53] And going on to that because of the writing as well, it's
[1:24:56] reestablishing the character was nothing to establish.
[1:24:59] It's just to fill in all of these gaps in the back story.
[1:25:02] Nobody asked for the back story at Indiana Jones, but Jeffrey
[1:25:04] gave for one, and it made it even more important.
[1:25:07] And that's why I honestly stand by that.
[1:25:09] This should have been a trilogy and would have been, in my eyes,
[1:25:13] one of the most perfect trilogies ever made if they just
[1:25:15] left it the way it was. Yeah, because we had, we now
[1:25:18] have closure. We now have understanding of a
[1:25:21] character. We now have a character who's
[1:25:23] essentially retired and has got, everything's fixed in his life.
[1:25:26] He's got his dad back the right off into the sunset.
[1:25:29] Everything works. And I think that was in the
[1:25:30] writing and I think that was intended.
[1:25:33] I think it was done in such a way that Spielberg and now go, I
[1:25:35] don't need to make another two films.
[1:25:37] Look how perfect this is going to do something else.
[1:25:39] Please. I don't need to see me contract
[1:25:41] out. I'll do with I'll do it with
[1:25:43] River Phoenix and a younger version or I'll do something
[1:25:45] else. And I don't think that might
[1:25:46] have panned out, but I think it was written this way and that
[1:25:49] Henry has spent his whole life doing what Indy did in Raiders,
[1:25:53] looking, searching, finding, understanding, because that's
[1:25:57] what that film is about. It's the mystery of it.
[1:25:59] It's finding it. And then in do, it's the process
[1:26:01] of finding it. It's learning who's got it, Who
[1:26:03] are the how can we get over? Henry's got all them, all the
[1:26:06] answers. He's got them in his diary.
[1:26:08] All India has to do is believe in his dad's research, believe
[1:26:10] in what his dad believes in, and he will find it.
[1:26:12] And that's all in the writing. If you look at it on that level,
[1:26:15] it's an incredibly complex film. It is about a relationship
[1:26:18] that's ultimately failed. It's over with.
[1:26:20] It is done. And if this hadn't happened, if
[1:26:23] this just the Nazis hadn't intervened and we're looking for
[1:26:25] the grill, they would never have reconciled.
[1:26:27] So it is a reconciliation story between a father and a son.
[1:26:30] It just happens to be an Indiana Jones movie, and it just happens
[1:26:32] to have these great set pieces, and it happens to be about the
[1:26:35] Holy Grail. But everything that's underneath
[1:26:37] it, it's just so, so clever and so brave to put in as well, like
[1:26:41] a swashbuckling, you know, big, boomy action film.
[1:26:45] And especially to put it in an Indiana Jones film, which is why
[1:26:48] I love this even more than I should.
[1:26:50] I don't think a third part of a blockbuster series like this
[1:26:52] from the 80s has any business being this.
[1:26:54] Good to know, quite honest. Well, there is a fascinating
[1:26:57] back story to the progression of the third part of the series.
[1:27:00] It'll not surprise any of you listening that there were a
[1:27:02] number of stabs at a screenplay before it got to the film that
[1:27:05] we know and love. Firstly, George Lucas wanted the
[1:27:08] film to be set in a haunted castle in Scotland.
[1:27:10] He fleshed out a treatment for the film, and a draft was
[1:27:13] written by Romance and the Stone writer Diane Thomas.
[1:27:16] Right. But Spiegelberg rejected this
[1:27:18] because he did just played a major part in Polk Geist, a film
[1:27:21] we've infamously covered on the podcast if you want to go back.
[1:27:25] Yeah, if you're a fan, don't. Yeah.
[1:27:28] We'll see no more. So therefore Spielberg He just
[1:27:31] wasn't interested in revisiting ghosts in any way, shape or
[1:27:34] form. So the next iteration have the
[1:27:36] Scottish castle is the prologue and not depicted Indian holiday
[1:27:40] there and that gets interrupted by a ghost named Baron Seagrave.
[1:27:43] And the main story saw Indy travel into Africa.
[1:27:46] Yeah, that one. Titled Indiana Jones and the
[1:27:48] Monkey King, Outrageous and written by Chris Columbus.
[1:27:51] The main narrative revolve around the searching for the
[1:27:54] Fountain of Youth, which later got replaced by the Peaches of
[1:27:56] Immortality, a story from Chinese mythology.
[1:27:59] It included Indies friendship with a 200 year old pygmy, A
[1:28:03] cannibalistic African tribe and a chess game between Indy and
[1:28:06] the Monkey King where the chess pieces were actual people and he
[1:28:09] actually got killed in this version but was brought back to
[1:28:12] life at the end. That sounds really ridiculous,
[1:28:15] yeah. Yeah, Spielberg backed away from
[1:28:19] this due to the backlash of cultural depictions that he
[1:28:22] received from Temple of Doom. Yeah, I mean, just reading that,
[1:28:25] the cannibalistic African tribe just stop there.
[1:28:28] Yeah, just stop there. 200 year old pygmy stop there.
[1:28:31] Yeah, it's not what the haunted house idea that based in
[1:28:34] Scotland that the lifted that scene where they come into the
[1:28:37] castle and he's got that Scottish accent and he sneezes.
[1:28:39] I'm gonna go. It's there for one of the
[1:28:41] drafts. Lifted that out and said put
[1:28:43] that in there. And then it was obviously like a
[1:28:45] little nod towards Connery as well.
[1:28:46] And yes, it's Scottish. Lovely.
[1:28:48] Yeah, right. OK, brilliant.
[1:28:50] Well, after all of this, they then revisited an idea that
[1:28:52] Lucas suggested sometime before but was rejected for being too
[1:28:56] ethereal. He said.
[1:28:58] The Holy Grail. Spielberg was unsure about it at
[1:29:00] first, he said. Of course, I was worried that
[1:29:02] people would hear Holy Grail and they would immediately think
[1:29:05] about the white rabbit attacking my life.
[1:29:07] Yes, of course. Of course, said my first
[1:29:10] reaction was to say to everybody run away.
[1:29:16] But he did like the idea of including a father son dynamic.
[1:29:20] Of course he did. Of course he didn't, and he gave
[1:29:22] the reins to The Color Purple writer Meno MIAs to write a
[1:29:26] draft. MIAs has a story credit for Last
[1:29:28] Crusade, as does Lucas, and this was then passed over to the
[1:29:32] final credited writer, Geoffrey Baum.
[1:29:33] Geoffrey Baum had previously penned The Dead Zone and Inner
[1:29:36] Space and he also wrote Lethal Weapon 2 in 1989, a banner year
[1:29:40] for him. No doubt he's the sole credited
[1:29:43] writer, but in between his final draft on the 1st of March 1988
[1:29:47] and filming starting 10 weeks later, another writer was
[1:29:50] drafted in the tidy of some of the narrative beats and work on
[1:29:52] the Father Son dialogue. And that writer was Barry
[1:29:56] Watson, but he's actually better known as Nordic playwright Sir
[1:30:00] Tom Stoppard. He would later go want to win an
[1:30:02] Oscar fair, Shakespeare in Love, and also did on credited
[1:30:05] rewrites on, of all things, Revenge of the Sith and Sleepy
[1:30:08] Hollow. So it seems like if it wasn't
[1:30:12] his intervention, we'd have a completely different film to be
[1:30:14] talking about. All right.
[1:30:15] Yes, yes. Spielberg is even quoted to see
[1:30:18] and Tom is pretty much responsible for every line of
[1:30:20] dialogue. I think he's referring to the
[1:30:22] dialogue between Indy and Henry there.
[1:30:24] But we're going to give you a flavor of the differences.
[1:30:27] Here it comes. In Baum's draft, Indian Marcus
[1:30:30] find Henry's housekeeper murdered when they search
[1:30:32] Henry's house. But when they get to Venice,
[1:30:34] India is flirting with Elsa and sipping wine, having a wonderful
[1:30:37] time. Just like you would be Westie.
[1:30:39] Absolutely no Venice. Yeah, there's quite a few
[1:30:45] differences. The hierarchy of the villains
[1:30:47] was different. In Baum's version, Donovan dies
[1:30:49] in the tank instead of Vogel, who gets taken out by one of the
[1:30:52] tests. OK.
[1:30:54] Elsa drinks from the wrong cup. Haven't shot Henry and on the
[1:30:57] tests there was only one which was easily traversed by walk and
[1:31:00] three steps forward. OK, no at all.
[1:31:04] And no automatic link to the right and at all either.
[1:31:08] And in Stop Art script, Henry comes in on page 53, whereas
[1:31:12] previously it was page 76. And Stop Art also added in
[1:31:15] memorable moments like everything between Henry and
[1:31:17] Marcus and the tank, the heavy-handed stamp from the
[1:31:20] librarian that we've already talked about.
[1:31:22] And we've been thoroughly unimpressed by Indies antics,
[1:31:25] which you know is hilarious. Checking his watch during the
[1:31:27] Pike chase at service, all that weird stuff.
[1:31:30] But maybe best of all, I did just that incredible moment we
[1:31:33] all loved, where India's big and markers up, only for that
[1:31:36] hardcore to reveal him toward the out of his element.
[1:31:39] Yeah, genius. Yeah, little moments, but added
[1:31:42] together they made a huge difference.
[1:31:43] Oh yeah. And to end on the screenplay,
[1:31:45] Spielberg said, I just thought that the grail that everybody
[1:31:48] seeks could be a metaphor for a son seeking reconciliation with
[1:31:51] a father and a father seeking reconciliation with the son.
[1:31:54] Simple, beautiful. The next two people on the crew
[1:32:00] list are all familiar faces. First up, the legendary Music
[1:32:03] man and Spielberg's muse, John Williams.
[1:32:07] Matt, what can be said about Williams here that hasn't been
[1:32:09] already? I mean, that's literally pretty
[1:32:12] much my opening line I've got written down here.
[1:32:15] There was some questions where we just have to go.
[1:32:17] We can't say anything that isn't already being said or isn't just
[1:32:21] evidently. Known.
[1:32:22] Already known, obvious to everyone.
[1:32:24] I mean, it speaks for itself. Of course it's excellent.
[1:32:26] We know how iconic the main theme is.
[1:32:28] So the question is, what is he at to it?
[1:32:30] And the theme for the Grail itself is brilliant.
[1:32:32] It's that gift of Williams, just known what the sound for
[1:32:36] something should be like in musical form.
[1:32:38] You listen, you go. Course that's what the Holy
[1:32:40] Grail would sound like. But had a thing, of course it
[1:32:42] does. It's got that reverential
[1:32:44] religious quality to it. He brings a likeness for all the
[1:32:47] action scenes that have Henry, like when the escaping from the
[1:32:50] castle, the joy he brings to the music of the young indie
[1:32:53] sequence at the start. Yeah, Yeah, it is.
[1:32:56] It's obvious. It's John Williams scoring in
[1:32:57] Indiana Drones film. Of course.
[1:32:59] It's amazing. Course it's.
[1:33:00] Great. Yeah, of course it is.
[1:33:02] The thing is, you could have got really lazy here.
[1:33:04] You could have said that I've done I've done two of these.
[1:33:06] Just rehash this and I'll do I'll bring that theme there.
[1:33:08] I'll just maybe add a few more notes to short rounds theme and
[1:33:11] make that Henry's and just do that for the grail or we've got,
[1:33:14] you know, you had so much in his Canon.
[1:33:15] But The thing is, I mean, we spoke about John Williams so
[1:33:17] many times before. Yeah, we have and we're having.
[1:33:19] I've said this before and it's still relevant and it's all I
[1:33:22] think of when I think of John Williams and his work.
[1:33:24] Like you have a bad day at work and you go in and you can't give
[1:33:26] off. You've half assed it a little
[1:33:27] bit, haven't you? Everyone's done it before and
[1:33:29] you've just went on. Yeah, I'm not doing it a day.
[1:33:31] I kind of be asked for this and you just get away with it.
[1:33:34] John Williams has never done that his whole career.
[1:33:36] He's never gone into work and just went.
[1:33:38] I'm not doing, I'm not, I'm not really into this.
[1:33:39] Every single thing, it's got 100% every single time.
[1:33:42] No matter what film it is, no matter what genre it is, no
[1:33:44] matter what he's doing, it's always 100% and this is no
[1:33:47] different. It's a completely fresh take.
[1:33:49] It's again a re establishing of the character with themes that
[1:33:53] he's put in there where he's not scared.
[1:33:55] It's like what's this is difficult 56th album by this
[1:33:58] point, like how how perfect do you need to be?
[1:34:03] It's like people have only got so much music inside of them.
[1:34:05] John Williams just feels endless and everything that comes out of
[1:34:09] him is top tier genius. It's not not like, oh, I can't
[1:34:14] see him lying awake in bed going I've got to match that theme.
[1:34:16] Now what am I going to do? He's just wakes up excited going
[1:34:19] yes, I get to match that. And that's how it feels is just
[1:34:23] effortless. It's wonderful, it's beautiful,
[1:34:24] it might, it matches the visuals every single time.
[1:34:27] There's not much more to say about it's just it's next level
[1:34:29] genius as per usual from John Williams.
[1:34:32] Yeah, yeah, it is. And you know, I'm not going to
[1:34:34] try and labour this point by any stretch, but yeah, I love the
[1:34:37] motifs that Williams brings the party.
[1:34:39] Each element has its own identity perfectly intertwined
[1:34:42] with the visuals. Similar to what you fellas have
[1:34:44] said, the Nazis, the Grail, Indian, Henry, they've all got
[1:34:47] their own identity in the score. Yeah, there's a wondrous sense
[1:34:50] of adventure that Williams brings to the series as a whole,
[1:34:53] which of course is evident here. Again, what I'm most impressed
[1:34:56] about is that Williams doesn't lean into his work previously
[1:35:00] too much. The Raiders March is pretty much
[1:35:03] Indies theme, and there are variations of it here and there,
[1:35:07] but they're so subtly woven into the tapestry of the music that
[1:35:10] they just go unnoticed. FAD came up with the Raiders
[1:35:14] March. Every film that I worked on,
[1:35:16] yeah. All of this backwards, Maybe
[1:35:18] just rehab for me. I listen to John Williams score
[1:35:21] and I think he's not using the same notes as everybody else.
[1:35:24] He's got a piano that's got a different set of notes on it
[1:35:26] than nobody else has heard that just writes music for him, and I
[1:35:29] just can't get my head around it.
[1:35:30] There's elegance and grace in this music, combined with menace
[1:35:33] in a sense of urgency. It's like a movie called
[1:35:35] Playground. It is.
[1:35:37] Yeah, who wants to go on the swings?
[1:35:40] So a legend in his field, probably the best ever to do it.
[1:35:43] Williams once again delivered for Spielberg.
[1:35:46] Again and again. Yeah, yeah.
[1:35:50] Finally, another trusty pair of hands behind the camera.
[1:35:53] Douglas Slow, comas DP, who was 75 years old at the time.
[1:35:57] Westie. Yeah.
[1:35:58] Big doggy. What do you think of the guy?
[1:36:01] This guy is just an enigma of a mystery wrapped in genius, as he
[1:36:05] always is. I mean, he shot so many iconic
[1:36:08] films, I'm not going to rattle them all off.
[1:36:09] Go and have a look at his work and just dive into anything he
[1:36:12] shot because it's all flawless. Very recently read the interview
[1:36:15] that he did around the time that he made this and he says, you
[1:36:17] know, he's just got to stay on his tour. 75 years old.
[1:36:20] There's usually says about 300 to 500 setups per film that he's
[1:36:23] done. Indiana Jones, Steven Spielberg,
[1:36:25] he said there's 1502 thousand setups, That's the difference.
[1:36:30] And he says it works with such a pace where he thinks he's got a
[1:36:32] little bit of time to light something and then he just hears
[1:36:34] Stephen Sharon over turn and over go on, right?
[1:36:36] He just hasn't got time to light how he wants to.
[1:36:38] He hasn't got time to take his time and the thing that I get
[1:36:41] from these three films and especially this one because 89
[1:36:44] and the note from the prints that they've made from Raiders
[1:36:46] that a lot of it was demanded for like a 70 mil print to be
[1:36:49] done on like bigger screens. So yeah, blow up the 35 mil
[1:36:52] print with 70. So they had to take that into
[1:36:54] account, especially when he's doing action sequences.
[1:36:56] He's thinking about the 70 mil print now and I'm gonna have to
[1:36:57] blow this up. I'm going to keep the action in
[1:36:59] the middle of the frame. So if you kind of does that a
[1:37:01] lot, which is then taken by you know, Miller when he does the
[1:37:03] Mad Maxi, especially few Rd. keeps everything in central the
[1:37:06] frame. So come kind of invented that
[1:37:08] this is shot anamorphic again. So he's got to keep the ratio of
[1:37:11] the screen, right? If it's going to be blown up to
[1:37:12] seven, he's got to keep all that in his mind.
[1:37:14] And then Spielberg want to use a lot more close-ups because said
[1:37:16] this is sort of more intimate film for him.
[1:37:18] And even though it's a big action film and the amount of
[1:37:20] close-ups he uses in this compared to Raiders, he said
[1:37:23] it's about 30% more close-ups because tall moving camera into
[1:37:26] more the character piece. And he said his shot on Kodak 95
[1:37:29] and greatest shot on 90939495 was the three film speeds that
[1:37:33] the shot at on to this Kodak 95, which is very clean green and it
[1:37:37] gives it that beautiful look. It's got this glow to it and
[1:37:39] it's really nice. And he used that so he could
[1:37:41] blow it up and get the best, absolute best quality from it.
[1:37:44] And the thing that blows my mind, any of the Indiana Jones
[1:37:47] films and the last 15 years of his career, he didn't use a
[1:37:50] light meter. You're shooting film.
[1:37:52] You can't. You couldn't see what you were
[1:37:53] getting right. You had to just judge you by
[1:37:55] your eye. And he just said he didn't have
[1:37:56] time. He set the camera to what he
[1:37:58] knew it would see and he shot the scene.
[1:38:00] Amazing. Unbelievable.
[1:38:01] And think of the size, just think of the size of these sets
[1:38:04] as well and how much light he's got to put into it.
[1:38:07] I feel physically like I'm going to cry.
[1:38:09] If I was given that kind of task, like I would just break
[1:38:13] down. I would break down completely
[1:38:14] and just a puddle and just cry and just don't know how he does
[1:38:17] it. But it's just that's the level
[1:38:19] of genius here. It's just seamless.
[1:38:21] It is mass. Your thoughts on Slogan's work
[1:38:24] here. I think he's just as important
[1:38:26] to the success of the trilogy as anyone else.
[1:38:29] That's a, you know, the look that he brings to them is the
[1:38:32] same as the sound that John Williams brings.
[1:38:34] It's the the same sharpness that Michael Kahn brings in the
[1:38:36] editing. There is, I'll use the word that
[1:38:39] W used, but there is a glory to these films.
[1:38:41] But it never tips over into being soft.
[1:38:44] And he's somebody's completely at home in the action scenes,
[1:38:46] like getting up, right. Of course, when Indy's hanging
[1:38:49] off the edge of the tank on the gun terrace, he's just as
[1:38:51] comfortable keeping the cameras still, like when Indy's taken
[1:38:54] the leap of faith, just as comfortable keeping the camera
[1:38:57] moving, like during the motorcycle chase.
[1:38:58] There's almost a texture to these films.
[1:39:01] These films I feel I can reach out, I can touch them and I know
[1:39:04] what they feel like on me fingertips.
[1:39:05] And that's down to Slocum. This was his last film.
[1:39:08] You talk about leaving on a high note.
[1:39:09] He couldn't have picked a better one.
[1:39:11] Yeah. Go out on a high for certain.
[1:39:13] Yeah. I mean, he's just a master of
[1:39:15] those huge sun drenched vistas in the indie series.
[1:39:18] Yeah, it's in the open in Utah, the wide open landscapes in
[1:39:21] Haiti and and Alexandre just leave you breathless.
[1:39:26] It's combined with the intimacies of the human
[1:39:28] interactions and slogans work to capture the dynamic emotional
[1:39:32] depth of the relationship core between India and Henry.
[1:39:35] You mentioned close-ups, Westie. Those reveal everything
[1:39:39] emotionally for me, particularly on Harrison's face, that there's
[1:39:43] no hide in place and he's completely exposed.
[1:39:47] He's not the hero that everybody has the perception of for
[1:39:51] Indiana Jones here, with the inclusion of his dad.
[1:39:53] Yeah, there's a vulnerability, isn't there?
[1:39:55] Without doubt, yeah. I think you can see that this
[1:39:57] film is just shot with the confidence and experience of a
[1:40:00] man who's seen it all, but I think the visuals also belie the
[1:40:03] general perception of a 75 year old man.
[1:40:07] There's an energy in Crusades that you rarely see these days.
[1:40:11] Strangely, Slocum has a a bad memory and he said that that was
[1:40:14] the key to his overall success. Yeah, he said that some
[1:40:18] cameramen can fall back on the way they lit a certain type of
[1:40:21] set on several pitches ago, and they can sort of relax and do
[1:40:24] quite easily. He said a typical example would
[1:40:26] be a courtroom, the number of times every cameraman in the
[1:40:29] world must have shut a courtroom.
[1:40:31] But I can never remember how I did it, so every time I come on
[1:40:34] set it's as if I'm seeing something completely new and I
[1:40:37] scratch my head and wonder how I'm going to do it.
[1:40:39] Yeah, nice. So, working with familiar faces,
[1:40:42] some of which may have been losing their faculties,
[1:40:44] Spielberg has surrounded himself with unique talents which
[1:40:47] contributed immeasurably to the success of Indy Three.
[1:40:50] Yes, definitely. The end.
[1:40:58] Stakes are increased in the third act.
[1:40:59] Marcus is being held captive in the belly of that foul beast,
[1:41:02] and it's up to Salah and the Jones boys to rescue him.
[1:41:06] And this sequence is wonderfully settled with Marcus.
[1:41:08] And assuring Donovan that they're meddling empowers they
[1:41:10] can't possibly comprehend. Yeah.
[1:41:13] Great line. Great line.
[1:41:15] Indy, Henry and Salah have eyes on them though.
[1:41:18] I love it when Henry tells Indy they get out of sight and he
[1:41:21] says dad, we're well out of range and then a missile just
[1:41:25] gets launched in their general direction.
[1:41:27] Yeah, it goes past them as well. It's the car.
[1:41:30] Total Salah's brother in law's car.
[1:41:33] Competition for my brother's car.
[1:41:36] That's five camels. Can't you count?
[1:41:38] I said no camels. That's great, yeah.
[1:41:40] Does Salah really think that he can get out of this mess?
[1:41:43] If he can get out of this mess, do you think that those camels
[1:41:45] are going to be intact? That's.
[1:41:47] Crazy 5 Campbells? You're going to cut them all the
[1:41:49] way to Alexandre? He's just panicked, doesn't he?
[1:41:52] Bless him, run. Run and then the Brotherhood
[1:41:56] show up again up to their old tricks trying to kill everyone.
[1:42:00] And the bit I love is when Henry gets a rush of blood when he's
[1:42:03] left to his own devices by Indian Salah and takes advantage
[1:42:06] of the Brotherhood deploy and makes his way into the tank.
[1:42:10] It's a rescue old boy. He's clearly taken inspiration
[1:42:12] from his son in his brave, stupid.
[1:42:15] Maybe a combination of both. He's got an amazing line when
[1:42:18] he's being slapped by the leather gloves.
[1:42:20] Classic Nazi move. Yeah.
[1:42:22] What does the diary tell you that it doesn't tell us?
[1:42:24] It tells me that goose stepping morons like yourself should try
[1:42:27] reading books instead of burning.
[1:42:29] Yeah, deliberately. And then it's matched in a
[1:42:33] different tone by Donovan shouting.
[1:42:35] Johns is getting away, I think. Not Donovan, not that Jones.
[1:42:39] The other Jones dude. He's just.
[1:42:43] Just laughing. This is right I.
[1:42:45] Love it. Oh, it's great.
[1:42:48] Fantastic. And it leads into this amazing
[1:42:50] sequence. It is.
[1:42:52] It's amazing. It's the essence of what Indiana
[1:42:54] Jones is to me. He's outnumbered, the enemy is
[1:42:56] technologically superior, and he has no grand plan.
[1:42:59] You know, famously, he just makes it up as he goes along.
[1:43:02] And the improvisation is brilliant, weaving back and
[1:43:05] forth in front of the tank so it ends up taking its own troops
[1:43:07] out, using the rock to clog up the gun.
[1:43:10] And then it comes to my favorite truck, the film, probably my
[1:43:12] favorite moment, full stop, which is when he rides the horse
[1:43:15] up alongside the tank on the Ridge and just flings himself
[1:43:18] off it to land on the track. And Spielberg knows could after
[1:43:23] the impact and not before. That's what makes it great,
[1:43:26] because you keep obviously it's fake Armstrong doing this stunt,
[1:43:29] isn't it? Yeah.
[1:43:30] So it keeps him in the frame. You know, it isn't a cheat and
[1:43:33] that's why it's so good. And the thing with the indie
[1:43:35] trilogy is because the soul rooted in those 1930s serials,
[1:43:39] the all feel like they could be chopped up in a 15 or 20 minute
[1:43:42] parts because there's there's always a cliffhanger every 15 or
[1:43:45] 20 minutes. And this one, when Indie then
[1:43:48] gets kicked off the tank and he's caught on the gun involved
[1:43:50] with a smack in his hands with a shovel, and then orders the tank
[1:43:54] to veer into the wall to Indy will be squashed.
[1:43:57] I mean, if that was an actual cliffhanger, you'd be out of
[1:43:59] your seat. It's so brilliant, and
[1:44:02] Spielberg's ability to juggle multiple moments in a scene like
[1:44:06] this, it's just unparalleled. Indy hauls himself back up, the
[1:44:09] music kicks in, Brody gets an accidental punched in the face
[1:44:13] to send him flying, and he's fallen on the tracks and he's
[1:44:16] got to save him with with the whip until Salic can ride up.
[1:44:18] All the while, he's smacking Vogel's face into the tank over
[1:44:22] and over. And Spielberg just can handle
[1:44:24] all those different moving elements and make it seem
[1:44:27] effortless. He knows instinctively where to
[1:44:28] put the camera. It's massively done.
[1:44:30] And just the last thing to mention is the lesson that this
[1:44:33] sequence gives us. And it's it's a lesson I can't
[1:44:35] believe we have to talk about in the air 2025, but apparently we
[1:44:38] do. And the lesson is, if you ever
[1:44:40] made a Nazi just punch them in the face, punch those.
[1:44:44] Fuckers, you're listening to everyone.
[1:44:47] Yeah, taking care of Nazis. One O 1 punches.
[1:44:50] Exactly. Yeah, it's an amazing sequence.
[1:44:53] It is. It's fantastic.
[1:44:55] So this section with the Tank, the film's action centerpiece,
[1:44:57] was originally conceived to be much shorter in length and was
[1:44:59] included as the behest of George Lucas.
[1:45:01] Obviously, two days for allocated a film in the scene,
[1:45:04] which later became 10 days Classic George Lucas.
[1:45:08] Spielberg decided that it should be about both Jones's working
[1:45:11] together to help each other out. Yeah.
[1:45:13] And he storyboarded the entire thing and later said that he had
[1:45:16] much more fun doing the storyboard than actually filming
[1:45:19] it because it looks very complicated.
[1:45:21] Yeah. And Effect supervisor George
[1:45:23] Gibbs said that Last Crusade was the toughest job of his career.
[1:45:26] But to be fair, he also didn't make it easy on himself because
[1:45:28] he went to a museum looking for a French World War 2 tank for
[1:45:31] the sequence, couldn't find what he was looking for, see, He
[1:45:34] ended up building 1 himself, which was then flown over to
[1:45:37] Almeva in Spain for the filming. Yeah, like an actual tank.
[1:45:41] It wasn't just like a shell or anything like that.
[1:45:43] Literal tank. Steel tank.
[1:45:46] That was a good one there. Were actually 2 tanks on set
[1:45:48] that one and one that was made of aluminium.
[1:45:51] It had polyurethane tracks which didn't touch the ground, which
[1:45:54] meant that Ford could have his face pressed against them
[1:45:57] without any risk to RIP his face off.
[1:45:59] OK. The Nazi officer who's looking
[1:46:01] at what's happening above through the telescope says
[1:46:03] something in Germany was little mate.
[1:46:06] Yeah, there's no subtitle. He actually says the Americans,
[1:46:09] they fight like girls. And then gets walloped, Yeah.
[1:46:14] So then from there, this whole set piece has just been
[1:46:16] wonderful. And then you just get that
[1:46:18] moment and you just think, Oh no, there's the Cliff, right?
[1:46:21] It's a big wide shot and you see what's coming.
[1:46:23] And that lovely moment where it's just a close up and you're
[1:46:26] seeing these kind of stumbling and the tank lifts up and he
[1:46:29] falls and you don't know if he's falling off or he's falling
[1:46:31] back. And it seems that he's
[1:46:32] definitely on the tank. And then it just goes over and
[1:46:35] it goes all the way down. I mean, it's not the best effect
[1:46:37] in the world, is it? No, it's not.
[1:46:39] It's just this moment is wonderful because it's just the
[1:46:42] silence in the sound design and it's like, I've lost him.
[1:46:45] I've lost 5 and I never told him anything.
[1:46:48] And it's like, oh, it just gets me every single time.
[1:46:51] He's just talking to Marcus. We just looking always like 5
[1:46:53] minutes would have been enough. I didn't tell him anything.
[1:46:55] He realizes that he has to do it face to face for to make sense
[1:46:58] for the matter. He has to tell him what is in
[1:46:59] his heart, not what's in his books.
[1:47:01] And it just really hits me every time.
[1:47:03] And they're just looking over. And again, there's the action,
[1:47:05] the emotion and the comedy. There's the exposure triangle,
[1:47:08] all three of them. And he just starts climbing up.
[1:47:11] It's fine. We get relief.
[1:47:12] They're still looking over Dan Amelia here again, a beautiful
[1:47:15] comedy beat and he just doesn't believe his eyes.
[1:47:18] He's. Trying to work it out and.
[1:47:20] It's just a lovely bit of relief.
[1:47:22] But it's just the the way he stood behind, like Matt said
[1:47:25] earlier, just this performance from Ford, it's like, I believe
[1:47:28] he's climbed up that Cliff. I believe he's fallen off that
[1:47:31] tank, climbed up that vine and just went, all right, OK.
[1:47:34] And he's made and he's like. And you believe it because
[1:47:36] you've seen it done so many times in the last two films.
[1:47:39] You've seen them, you know, hanging off a bridge printed
[1:47:42] Sheba and then catching a Shankara stone and climbing up a
[1:47:45] bridge and getting away with it. You've seen them do it.
[1:47:47] You. Can do it, yeah.
[1:47:48] And it's just that Hogie gives him that embrace and he just
[1:47:51] looks like sore. Child lost your boy I.
[1:47:53] Thought I'd lost your boy. And he's like, right, that's it,
[1:47:56] Yeah. I'm still not telling him
[1:47:58] anything. It doesn't matter, you know,
[1:48:00] let's go. Like, come on.
[1:48:01] And then it's just the way he crumbles to the floor.
[1:48:04] And then there's again a lovely Spielberg comedy moment and the
[1:48:07] hat just blows in. Yeah.
[1:48:09] It's just a wonderfully emotional moment and humorous
[1:48:12] and, you know, action-packed and brilliant and it's the last we
[1:48:15] say it. Is the that's what we say, yeah.
[1:48:20] And to get the effect of the time going over the Cliff, 1/4
[1:48:23] scale model was driven over a 50 foot Cliff and then miniatures
[1:48:26] models be used to create the explosion at the bottom.
[1:48:28] Yeah, like Wesley said, it's not fantastic.
[1:48:31] Probably the worst effect in the film, to be honest.
[1:48:33] Yeah, but still. I mean, we can give it a pass
[1:48:35] 1989 with no digital effect. It's.
[1:48:38] Possible that without a doubt not a problem.
[1:48:40] So with a great emotional beat, our boys come together as a
[1:48:43] stronger whole to fight the might of the Nazis.
[1:48:46] Yeah. So with all the crew safe for
[1:48:50] now, they head to Alexandretta in the final Test of faith in
[1:48:54] the search of the Holy Grail. The Pennant and man will pass
[1:48:57] Wesley. He will, and this is what we've
[1:49:00] been building up to. It's the tests that Henry's been
[1:49:03] waiting his whole life for and doesn't actually get to do.
[1:49:06] That whole turn from Donovan, that gunshot, the sound of it.
[1:49:10] It's a classic indie sound that. Rings out.
[1:49:13] And how can he turn around and say that?
[1:49:15] I don't know if Donovan's a nice guy.
[1:49:16] I know. He's.
[1:49:18] Just. Just evil.
[1:49:19] Just turned around and just blatantly shot Henry, but he's
[1:49:22] got the Diaries, not nothing else from him and the tests are
[1:49:24] just fantastic. I think it's just baffling until
[1:49:27] you actually realize how he gets through them and it's just the
[1:49:30] way it cuts back to Henry and he's just praying and he's
[1:49:33] trying to get through his he feels the pain independent man
[1:49:36] pen. And then it's it's them bonding
[1:49:37] like I said before, the path of God, breath of God.
[1:49:40] Both absolutely brilliant. But them bastards laying these
[1:49:43] traps and like Jehovah. Oh, yeah, yeah.
[1:49:46] There's a big change just right. And it's so easy.
[1:49:51] Go on, go on, you know. Jay.
[1:49:56] So good, so confident, isn't it? He's like Jehovah, the word of
[1:49:59] God, Jehovah. OK, Jay.
[1:50:02] Because it's already been sent over.
[1:50:04] The cutaway with Henry saying begins with an I.
[1:50:07] Begins with an I and then there's this bit that has so
[1:50:09] much controversy because like, the film's perfect up until this
[1:50:12] bit. And they're like, really?
[1:50:14] You're missing the point completely.
[1:50:15] The leap from the lion's head is the bit that lets you down.
[1:50:18] Yeah. It's a leap of faith.
[1:50:20] Just. It is exactly what it is.
[1:50:22] It could be anything. It could be a leap of faith.
[1:50:24] Yeah, it doesn't really matter. It's forced perspective, so that
[1:50:26] means it's it doesn't mean anything.
[1:50:28] It's just a way of explaining it and how it reveals itself.
[1:50:30] Then he throws the sand on it. Fine.
[1:50:32] My way of thinking is nobody else has done this.
[1:50:34] The knight has set these up and nobody else has done this.
[1:50:37] So everything's just brand new, everything's fresh.
[1:50:39] If it has been painted, if it has been camouflaged and no one
[1:50:42] else has bothered because everyone would have got you over
[1:50:44] wrong. He's not just going to come and
[1:50:45] fix the stone again, is he? And then, you know, there's that
[1:50:49] one guy who goes in first, gets his head taken off and it rolls
[1:50:52] out because then the blades are that sharp.
[1:50:54] They've never been used before. So he's the first person that
[1:50:57] gets through all this. But these three tests are
[1:50:59] perfect because it's just his lessons to Indy.
[1:51:01] Trust yourself. Take a leap of faith.
[1:51:03] It's perfect father son advice. And he nails every time.
[1:51:06] Yes, he does, and it's so much jeopardy like I mentioned
[1:51:09] before, before they get to this, the exterior of this sequence
[1:51:12] was shot in Petra, Jordan and now famous location, mostly
[1:51:15] thanks to its depiction. In this film, the number of
[1:51:18] visitors exponentially increased after Last Crusade, literally
[1:51:21] from a few 1000 per year to 1,000,000 per year.
[1:51:25] After this film it looks the same so you you get paid off and
[1:51:29] it. Was shot during the reign of
[1:51:30] King Hussein bin Talal and Queen Nuer and they were invited to
[1:51:34] the set and got on famously with Spielberg.
[1:51:36] So much so that the King provided production with four
[1:51:38] horses and the Queen gave Spielberg a lift of.
[1:51:41] Course, yeah. Left to set every now and again.
[1:51:43] Yeah, obviously ingratiated himself well within the royal
[1:51:46] family, Jordan. Classic.
[1:51:49] The first Grail test incorporated a mixture of
[1:51:51] practical and miniature blades. The second one was originally
[1:51:53] conceived as a tarantula crawling up Indies leg when he
[1:51:56] incorrectly steps on the G, which was shot but didn't look
[1:51:59] great. This was switched out for what
[1:52:01] we see in the film. It's a stuntman hanging through
[1:52:03] a hole above a 30 foot cabin. Still Dangerous 30. 30 foot is
[1:52:07] very dangerous. Yeah, 8 foot is dangerous.
[1:52:12] Yeah, the third trial as well that was created with a mortal
[1:52:14] bridge, painted backgrounds and a puppet of Harrison Ford.
[1:52:17] Yeah, works out fine for me. Fine.
[1:52:19] For me as well. So yes, Indy's made it through
[1:52:22] the tests. He meets the night first thing
[1:52:25] to say when he comes through into this incredible set.
[1:52:28] The design of the set and the design of the costumes in this
[1:52:31] cavern are super, Yes, magnificent.
[1:52:34] The night looks amazing in his gear.
[1:52:36] He's bathed in light from the fire, but he's almost grey,
[1:52:39] reflecting his age because he's like 700 years old.
[1:52:42] Yeah, he's a bit of a separate light source, isn't he, to give
[1:52:44] him that look. They must have.
[1:52:46] Yeah, I think he must have. Yeah.
[1:52:48] And it's what Wesley was saying before.
[1:52:50] It's a dramatic beat. The night stands up and he goes
[1:52:53] for Indy, then followed directly by a comic beat when he swings
[1:52:57] and completely misses him because he's knackered.
[1:53:00] And then there's a light hearted accompaniment of the music as
[1:53:03] well. Yeah, but then India is followed
[1:53:05] into The Cave very quickly by Donovan and Elsa.
[1:53:07] No Fear of going through them tests straight in there.
[1:53:11] I mean, I'm thinking about the second one in particular.
[1:53:14] Yes, yeah, yeah. He doesn't mark that, does he?
[1:53:16] The Jehovah. No, he stops the blades.
[1:53:19] He stops the blades, the bridge, but the second one.
[1:53:22] I wouldn't fancy me chances. No, Jay.
[1:53:28] And then Donovan Burson there with absolutely no respect for
[1:53:31] his surroundings or circumstances or what's at play
[1:53:34] here. He doesn't even acknowledge the
[1:53:35] Knight's existence. And there's a beautifully subtle
[1:53:38] moment as he says, I don't know what to pick.
[1:53:42] And Elsa says, I'll pick for you.
[1:53:44] Thank you, doctor. And this is a lovely moment.
[1:53:47] When Elsa hands over the grave of this beautiful, ornate cup.
[1:53:51] She looks over at Indy and she kind of like shakes her.
[1:53:54] Head. And I'm on your side.
[1:53:56] That's wonderful. That's great.
[1:53:58] It can be missed it. Can be, yeah.
[1:54:01] You've got to keep your eyes filled.
[1:54:02] But it's great, and the score swells and then quietens as
[1:54:06] Donovan guzzles down on the water.
[1:54:08] And a moment of calm before this incredible piece of FX.
[1:54:12] The degeneration of Donovan's head is considered the first
[1:54:15] ever complete digital composite shot.
[1:54:18] Right. Yeah, and he's filmed in various
[1:54:20] stages of degeneration with makeup, inflatable pads, which
[1:54:24] we used to make his eyes appear sunken in a mechanical wig which
[1:54:27] grew his hair. The number of shots were taken,
[1:54:29] including puppet heads, and then digitally melded together to
[1:54:32] make one seamless, seemingly single shot.
[1:54:35] It's amazing because in my head there's cutaways like the is
[1:54:37] normally on those kind of things.
[1:54:39] Yeah. Yeah.
[1:54:40] Because Spielberg didn't want to do that.
[1:54:42] He's seen that a million times. Cutaway and come back,
[1:54:44] degeneration, cutaway, come back even more.
[1:54:46] Yeah, Yeah. Yeah, his skeleton was on
[1:54:48] marionette style wires and slammed into the wall to gain
[1:54:50] the design effect. It really works.
[1:54:52] Yeah, it does, right. I mean, we talked about the
[1:54:54] effects work with the tank, which, you know, we give a pass,
[1:54:57] but not great. This really works.
[1:54:59] Yeah, it's fantastic. His eyes sink into his head near
[1:55:02] me. And then Indy chooses wisely.
[1:55:06] The cup, very simple cup, the cup of a Carpenter.
[1:55:09] What resonates, and I think I think it will resonate with a
[1:55:12] lot of people, is the delivery of this by the night.
[1:55:16] He chose poorly. You chose wisely.
[1:55:20] It's just magnificent delivery. Yeah.
[1:55:24] Well, for the night actually, Laurence Olivier was wondered
[1:55:27] and he was interested in the role but he wasn't in the best
[1:55:30] of health so he couldn't take it and eventually he would pass
[1:55:32] away in 1989. Wow.
[1:55:34] Yeah, I mean, that would have. That would have added an extra
[1:55:36] bit of kudos, wouldn't it? Yeah.
[1:55:39] Just for 5 minutes at the end. But instead we've got this guy,
[1:55:42] TV and theatre stalwart Robert Edison.
[1:55:44] Now he's a worthy replacement. He was 80 at the time, and he
[1:55:48] died in 1991, so not long after, right?
[1:55:51] And he hadn't been in a movie since the early 70s.
[1:55:54] And he was a little nervous onset constantly.
[1:55:56] Aston Spielberg, if he was performing correctly, God bless
[1:56:00] him. And the answer is yes.
[1:56:03] Yes, he chose. Wisely, yeah.
[1:56:06] Too right? And then we get to the ending
[1:56:08] and and it ends with such such a perfect lassie.
[1:56:12] I sometimes cry just thinking about it, about how good it is.
[1:56:16] And it's set up perfectly because of how subtle the role
[1:56:19] reversal between Indy and Henry has been throughout the film up
[1:56:23] until this point, India's basically being the father
[1:56:26] figure. He's dealing out the lessons,
[1:56:28] he's taken charge. He's, you know, sorting out the
[1:56:30] situations, protecting Henry. All Henry cares about is the
[1:56:33] Grail. But by the end, Elsa, the greed
[1:56:37] has got her, she's broken the seal, the place is crumbling and
[1:56:40] then everything changes in terms of the characters.
[1:56:43] The grail becomes Indies obsession if he can just reach
[1:56:46] out and get it. He's so close and it leads to
[1:56:49] the one moment Henry acts like an actual father and I say he's
[1:56:52] holding Indies hand while he does it.
[1:56:54] What a father should do from birth.
[1:56:56] Indiana, Let it go. Just amazing, beautiful
[1:57:00] delivery. That's what a father's wisdom
[1:57:03] should be. Henry has arrived at his point,
[1:57:06] and that's why Indie listens. And I think there's also the
[1:57:09] unspoken subtext, which is the cruel irony that while Henry was
[1:57:12] obsessed with the Grail, which is the key to eternal life, his
[1:57:15] wife was dying and he didn't realize.
[1:57:17] Yeah. And I always feel that kind of
[1:57:19] fuels his quest to make up for that in a way.
[1:57:22] If I can find the eternal life. He obviously can't bring his
[1:57:25] wife back, but it'll be a victory.
[1:57:27] Yeah, the temple set was built in six weeks and used 80 feet of
[1:57:30] hydraulics and 10 gimbals to create the earthquake effect.
[1:57:33] It took 20 minutes to reset the hydraulics to the starting
[1:57:36] position for retakes, so obviously there were few and far
[1:57:38] between I would have thought. Special effects, they are
[1:57:41] absolutely outstanding. This looks and feels like this
[1:57:44] place will crumble at any moment.
[1:57:46] Yeah. But then it's after this, that
[1:57:48] scene, which obviously goes back to my opening court.
[1:57:50] Henry is calling indeed junior again and salad chimes in.
[1:57:53] What does it mean this junior got his name?
[1:57:56] Henry Jones Junior. Junior.
[1:57:58] I like Indiana. We're named the dog Indiana.
[1:58:03] And then my. Name after the dog.
[1:58:08] Got a lot of fond memories of that dog.
[1:58:11] He's so annoyed, it's so funny. It's so beautifully played
[1:58:15] because this scene genuinely feels like this is the last time
[1:58:17] you'll see these characters. It really feels like Spielberg
[1:58:20] who made his mind up. This is the last time you see
[1:58:22] them, so it's going to be perfect.
[1:58:24] That's called the Last Crusade as well.
[1:58:26] Well, exactly, yeah. Indeed finally at peace with his
[1:58:30] place in the world he's with his two best mates.
[1:58:32] He's mended his relationship with his father and that last
[1:58:35] bit of dialogue after you, junior.
[1:58:37] Yes Sir. Couldn't be any more perfect
[1:58:40] than the rear de smart striking up as the literally ride off
[1:58:44] into the sunset. Yeah, Now if he excuse me, I'm
[1:58:48] going to have to go and have a cry about.
[1:58:50] It don't blame me. It's so good, man it.
[1:58:54] Is so. Good, good.
[1:58:56] Perfect ended. Perfect ended.
[1:58:58] Perfect. No notes whatsoever.
[1:59:00] No notes. You imagine like how Spielberg
[1:59:04] felt when that came together. And yet is.
[1:59:06] Yeah, yeah. It's the end of one of the most
[1:59:09] perfect trilogies for me. It's absolute magic.
[1:59:12] Yeah, yeah. So the perfect way to end the
[1:59:15] perfect trilogy, really. Our heroes literally riding off
[1:59:19] into the sunset, so pleased they didn't come back for any more.
[1:59:23] No, of course they didn't. Reception and awards.
[1:59:30] With an already established hardcore movie fan base, Last
[1:59:33] Crusade was always going to be a home run.
[1:59:36] Yes, it wasn't. On a $48 million budget, it
[1:59:39] returned 474,000,000 worldwide, making it the highest grossing
[1:59:43] film of the year. Wow.
[1:59:45] It even beat out the much anticipated and ballyhooed
[1:59:48] Batman to top spot in 19. 80 wow it.
[1:59:51] Did, yeah. It also ended the 80s as the
[1:59:54] third highest grossing film of the decade, behind ET and Empire
[1:59:57] Strikes Back. The 80s really were Spielberg
[2:00:00] and Lucas's. Yeah, it really was their
[2:00:02] playground. Wasn't it?
[2:00:03] Yeah, it really was. It also struck the chord with
[2:00:06] critics who generally favored its return back to the lighter
[2:00:09] side of India after Temple of Doom, Rolling Stone said.
[2:00:12] The wildest and wittiest India of them all.
[2:00:14] Variety loved the father son dynamic and they're amusing.
[2:00:17] Sexual one upmanship quote UN quote.
[2:00:20] OK, Yeah. The Hollywood Reporter said that
[2:00:23] Connery and Ford should get Oscar recognition right.
[2:00:26] Which is bold, yeah. And finally, Roger Ebert.
[2:00:30] What do you think? He gave it out of four fellas,
[2:00:32] I. Think he's given it full back
[2:00:34] here the. Big 444, it was strong.
[2:00:38] Not that strong. It was 3.5 out of four.
[2:00:40] Oh, OK, right. Yeah.
[2:00:42] Still hefty. Yeah.
[2:00:44] He was particularly enamoured by the opening scene, seeing it had
[2:00:47] the style of illustration that appeared in the Boys Adventure
[2:00:50] magazines of the 1940s. He left.
[2:00:52] It does, yeah. And looking through a
[2:00:54] contemporary lens, Indiana Jones and the Last Crusade has 84% on
[2:00:58] Rotten Tomatoes and a high 8.2 out of 10 on IMDb.
[2:01:01] Yeah. Not surprisingly, Last Crusade
[2:01:05] got a smattering of nominations on the award circuit.
[2:01:08] Yep, that's right. At the Oscars it won Best Sound
[2:01:10] Editing and was also nominated for Best Sound and Original
[2:01:14] Score. At the Baftas, it was nominated
[2:01:16] for visual effects and sound, and Connery got a Best
[2:01:19] supporting Actonaut, which he also got as the Golden Globes.
[2:01:22] But he did lose out on both. At the Globes he lost out to
[2:01:25] Denzel Washington for Glory, and at the Baftas it went to Rhea
[2:01:28] Mcanally for My Left Foot instead.
[2:01:31] Right. Yeah, of your hometown.
[2:01:32] Vote that one, Yeah. Obviously that's more Bafta's
[2:01:35] fodder, isn't? It.
[2:01:36] Yeah, yeah. Yeah, I mean Denzel, no argument
[2:01:40] with that. Glory is amazing and that's.
[2:01:42] Fantastic and that he's fantastic and everything.
[2:01:44] Isn't he of? Course he is, I suppose nobody
[2:01:46] was expecting too much more than that from an awards perspective
[2:01:48] really. Although I think that Denim
[2:01:50] Elliot was overlooked in the supporting categories to be
[2:01:53] honest. Yeah, I just don't think you had
[2:01:54] enough screen time, did he, to make that much of an impact.
[2:01:56] I think it's it's in hindsight he's amazing.
[2:01:59] And Connery's eating up so much of that screen time.
[2:02:01] As well. Otherwise, a spectacularly
[2:02:05] successful installment of the indie trilogy, but there was
[2:02:07] life left to be squeezed out of the character in the years to
[2:02:10] come. Yeah, sequels and influence.
[2:02:19] It was framed as the last indie film.
[2:02:22] It looks and feels like the last indie film, but was it?
[2:02:25] Regrettably, it was not. But before we get to the
[2:02:29] sequels, Westie, in the years since, where have you seen Last
[2:02:32] Crusades influence and what do you think it's legacy is?
[2:02:35] I think its influence is all over any kind of, you know,
[2:02:38] tongue in cheek, a little bit of humor, a little bit of action, a
[2:02:41] little bit of emotion film that's come out since then.
[2:02:43] Anything that's got any kind of action bias, anything that's got
[2:02:46] any any kind of adventure bias to it has got elements of
[2:02:49] Indiana Jones and especially Last Crusade.
[2:02:51] That Austria off the top of my head, it was The Mummy franchise
[2:02:53] came to mind. I agree, yeah.
[2:02:55] Pirates of the Caribbean, especially the first one, yeah,
[2:02:58] very similar tone. And that kind of comes into its
[2:03:00] own and loses it a little bit later on.
[2:03:02] It delves into the more of the, you know, 70% about the old used
[2:03:06] in the library. And you get a lot of the Dan
[2:03:07] Brown novels, especially The Da Vinci Code, looking for the
[2:03:10] clues, calls back with that kind of divine intervention.
[2:03:13] So I think it all, it laid across a lot of things.
[2:03:16] I mean, national treasure, you go on and on.
[2:03:18] It's indisputable. Anything with action, adventure,
[2:03:21] a little bit of humor, a little bit of emotion.
[2:03:23] It's in the other Jones, really. Yeah, in the decade of the
[2:03:25] blockbuster, which Spielberg basically started with Jaws in
[2:03:28] 75, I think it's entirely appropriate that The Last
[2:03:31] Crusade rounded out the decade, is the most popular film.
[2:03:34] Yeah. Harrison Ford started and ended
[2:03:36] the decade as the biggest movie star on the planet, probably,
[2:03:39] which is pretty much a spectacular feat.
[2:03:41] And we've talked about his 80s in the past and didn't hit any
[2:03:45] bomb notes. I think that's the legacy of the
[2:03:47] film and the indie series overall.
[2:03:49] Also the prologue of Last Crusade, directly responsible
[2:03:52] for the George Lucas produced TV show The Young Indiana Drones
[2:03:55] Chronicles from the early 90s. Yeah, I.
[2:03:57] Think the influence is more Muddy Waters.
[2:04:00] I don't think it's this film stand alone which has had the
[2:04:03] influence. I think it's just a series
[2:04:04] overall, the original trilogy. And I just think that
[2:04:07] blockbusters became a little bit more complicated over time with
[2:04:10] a little bit less clarity, A cue which wasn't taken from Last
[2:04:13] Crusade. This now feels like a throwback
[2:04:16] blockbuster. I mean, I know it was in the
[2:04:17] 80s, but it's not surprising that it does consider in the
[2:04:20] original conceit of the films were a throwback to serials of
[2:04:22] the 40s. Yeah.
[2:04:25] So yeah, I think. A lot of legacy.
[2:04:26] The influence has spawned a lot of cheap knockoffs, I suppose.
[2:04:30] Like all good touchstones in culture do.
[2:04:32] Really. Yeah.
[2:04:33] Agree. What about you, Matt?
[2:04:35] Very. Similar, obviously Legacy.
[2:04:37] I think it's legacy is probably most people would agree it's the
[2:04:40] last great indie film and it should have been left as the
[2:04:43] defendant, defendant for the character influenced.
[2:04:45] Just exactly what you used to have said.
[2:04:46] It's still the benchmark along with Raiders and Temple Doom for
[2:04:50] adventure films. It's how you make adventure
[2:04:52] films that aren't just about stunts and set pieces, but they
[2:04:55] have a great story. And then specifically this one,
[2:04:57] it's how you do an adventure film with genuine emotion in it
[2:05:00] as well, which I would say the previous suit don't have that.
[2:05:03] So I think that's it's Lexi for me.
[2:05:05] This is how you make a blockbuster with heart.
[2:05:07] Absolutely. Since Last Crusade, there've
[2:05:09] been a number of different stories floating around to
[2:05:11] continue the indie saga. There are too many to outline
[2:05:14] here, but there were two ideas that went quite far.
[2:05:17] Yes, they were. Yes, yes, the first one, Indiana
[2:05:20] Jones and the Saucer Men from Mars, which is the single worst
[2:05:25] title I've ever heard for a film.
[2:05:28] Kings up there. This is an idea that George
[2:05:33] Lucas was developing in the early 90s, with Die Hard and
[2:05:36] Fugitive writer Jeb Stewart holding the pen before Jeffrey
[2:05:39] Baum had a bash later on. The idea being that India's
[2:05:42] jilted at the older by his bride to be, who it turns out has been
[2:05:46] kidnapped because of her work in the discovery of aliens.
[2:05:49] The quest is to find her while battling aliens, Russians,
[2:05:52] flying sauces and a ticking time.
[2:05:54] Bomb. Yes.
[2:05:56] And then Indiana Jones in the City of the Gods came very close
[2:05:59] to happening. Spielberg and Ford loved the
[2:06:02] idea, but Lucas not so much. Frank Darapon wrote and
[2:06:05] developed it actually at the turn of the century, and it
[2:06:07] included some elements from the Source Man script who was set in
[2:06:10] the 50s. India is in possession of a
[2:06:12] mysterious crystal skull from a Russian colleague.
[2:06:15] Marion is in there searching for the lost city of the gods as
[2:06:17] well. And aliens do appear at the end,
[2:06:20] but most agree that this was handled much more competently
[2:06:22] than the days in the fourth film.
[2:06:24] That we did get, yes. Yes, indeed.
[2:06:27] Yeah, Darabont said that he wasted a year of his life on the
[2:06:29] project. Certainly the whole thing goes
[2:06:30] down in flames because George Lucas doesn't like this grape.
[2:06:33] Today told Lucas that he was crazy for a jetting His idea.
[2:06:37] Yeah, I'm not going to just blow raspberries and shout Star Wars
[2:06:40] as he always does. So plot elements that aren't.
[2:06:44] Too dissimilar to what we ended up with in 2008 when Indiana
[2:06:48] Jones and the Kingdom of the Crystal Skull came out 19 years
[2:06:51] after Crusade and 15 years after that in 2023, we've got Indiana
[2:06:56] Jones in the Dial of Destiny. Good, bad, or indifferent.
[2:07:00] Matt, what do you think of the sequels after Last Crusade?
[2:07:04] Crystal Skull, I will all this maintain has a great first half,
[2:07:08] the opening in the warehouse, the chase at the university
[2:07:10] campus. Great stuff.
[2:07:12] We do love those. It's when the film gets to the
[2:07:14] jungle at the halfway point and a really genuinely feels to me
[2:07:17] like Spielberg directed the First off and then he led George
[2:07:20] Lucas. I forgot the second because it
[2:07:22] feels very Star Wars prequels, very lightweight.
[2:07:25] It's not her fault, But when Karen Allen turns up as Mary and
[2:07:27] that's when the tone of the film changes, Yeah, and it just
[2:07:30] becomes goofy and lightweight. It doesn't nail what the story
[2:07:34] should be or what the stakes are, and there's too many
[2:07:36] characters in there. To waste Cate Blanchett like the
[2:07:40] way this one does is an absolute crime.
[2:07:42] Yeah. On the rare occasion I have
[2:07:44] watched this again, I always forget John Hurt is in this and
[2:07:47] why. I mean, John Hurt's a great
[2:07:48] actor. Wasted, completely wasted in
[2:07:51] this. So it's fine to a point.
[2:07:53] But after watching the original trilogy, I'm rarely in the mood
[2:07:56] to stick this one on. Yeah.
[2:07:58] And then dial A destiny. Only saying it the once.
[2:08:00] I can't see myself ever revisiting it, to be honest.
[2:08:03] For the main thing for me, I just thought they've actually
[2:08:07] made an Indian drones film. So that's just quite boring for
[2:08:10] the most part. Like some bits are OK, the horse
[2:08:13] chase, the marketplace chase, but overall I just found it
[2:08:17] really depressing. Like Indy, his son's been
[2:08:19] killed, Marion's left him and he just looks like an alcoholic
[2:08:22] with no money at the start. Like, who wants to see Indy like
[2:08:25] that? And then when you consider how
[2:08:27] last goosey it finishes that victory lap into the sunset, I
[2:08:31] mean, I mean, even Crystal Skull, it finishes with them
[2:08:34] getting married, which you think, right, OK, that's a nice
[2:08:36] end. And if they're going to continue
[2:08:38] it, fair enough. And Dialer Destiny just finishes
[2:08:40] with, well, he's not getting divorced now.
[2:08:42] Isn't that good? That's not how an Incheon Jones
[2:08:46] film should end. And then I think the element
[2:08:49] most people have an issue with is the time travel.
[2:08:51] And I actually don't. I was kind of fine with that.
[2:08:54] But I think if you're going to bring that into it, really
[2:08:57] commit to it. That should be the halfway point
[2:08:59] of the film. He ends back in time.
[2:09:00] And I honestly think this should have just had it in Berlin at
[2:09:03] the time of Last Crusade, because then you would have had
[2:09:05] old and young Indy running around.
[2:09:07] And I could like Back to the Future too.
[2:09:09] Back like Back to Future too. And I just think really into it.
[2:09:12] At some point that got lost and they just got Oh no, no, I think
[2:09:15] must have had a really bad test screen and at some point about
[2:09:18] the time travel aspect and they've just rewritten it.
[2:09:20] So yeah, I doubt I'll ever go back to his game because I just
[2:09:24] found it quite depressing. Oh.
[2:09:26] Damon. Damon.
[2:09:28] Yeah, Not too many positives. Westie, do you have any more?
[2:09:32] Not many come on this side either, I'm afraid.
[2:09:34] I mean, I really wanted to like these.
[2:09:36] I mean, you guys know as well as you do really, really wanted to
[2:09:40] like these to the probably I just almost, I told myself that
[2:09:44] it didn't really exist or that I'd seen something different or
[2:09:46] that written in me head and woke up the next day and went,
[2:09:48] actually that was all right, I'll go and see it again.
[2:09:51] I did try the multiple times, both of them in the cinema.
[2:09:54] You always want to see more because it was just fantastic
[2:09:57] and it was so enjoyable and it was such a great franchise.
[2:09:59] And yes, it probably could have made loads more money, and it
[2:10:01] probably did make loads more money and fine.
[2:10:03] But not everything's about money, really.
[2:10:05] And I would much prefer the last ever thought in my mind of
[2:10:09] Indiana Jones would be that John Ford sunset shot.
[2:10:12] Yeah. Riding away and that's all I get
[2:10:14] from it. That's all you need from it.
[2:10:16] And they have tried and unfortunately I think they're
[2:10:19] just forgettable. Yeah, just don't watch them.
[2:10:21] Watch them. If you like them, great.
[2:10:22] But that's absolutely don't hold the torch in the first 3.
[2:10:24] Not at all. No chance.
[2:10:26] Well, my overriding thoughts on the sequels is that they are
[2:10:30] disposable. Fine in isolation, but just not
[2:10:33] good enough to hold a candle. The original trilogy, No, I'm
[2:10:36] obviously not sticking my neck out with that opinion.
[2:10:39] It's a very popular one. Yeah.
[2:10:41] But I think a lot of it has got to do with nostalgia.
[2:10:44] I've said it about other film series in the past, but these
[2:10:46] were just on a hand. They're nothing.
[2:10:48] Considering the time that had passed and the core audience had
[2:10:51] grown up, they were never going to win us over.
[2:10:54] Aside from that, fundamentally, the writing just isn't.
[2:10:56] Up to scratch. No, no.
[2:10:58] Spielberg had moved on as a director.
[2:11:00] Yeah. And I don't think that he even
[2:11:02] wanted to do Crystal Skull. And then, you know, the Mangold
[2:11:06] helmed Dial of Destiny, some memorable moments.
[2:11:09] It pulls at the heartstrings, kind of like you were saying,
[2:11:11] Matt. But it just, it's not the
[2:11:13] emotion that's in Last Crusade. It's down.
[2:11:15] It's down. It's down.
[2:11:16] It's Kramer versus Kramer. I think like we've been seeing,
[2:11:25] I think there are some good moments in both films.
[2:11:27] I'll not necessarily say no to another indie story because I do
[2:11:31] love the character. It's never going to take my
[2:11:33] opinion of the original 3, so I'm not really full of it.
[2:11:36] Really all about any additions to the Canon.
[2:11:38] They tell their own story and have their own place in time and
[2:11:41] what was going on at that time, so that's fine with me.
[2:11:43] The three, they are canonized now and the rest doesn't matter.
[2:11:47] Fine. But Wesley, when I think about
[2:11:49] the Crystal Skull, the first thing I think of is your
[2:11:52] impression of rear Winston shouting Jonesy Jonesy.
[2:11:57] There it is. And that is infinitely better
[2:12:03] than anything on King of Crystal Skull.
[2:12:05] So we have that to be thankful for.
[2:12:07] Thank you. You're.
[2:12:08] Most welcome. So 2 films after Last Crusade
[2:12:12] leaving a lot of people sugaring their shoulders.
[2:12:14] They certainly have their moments, and they'll be more
[2:12:16] moments added with additional sequels in the future, no doubt,
[2:12:19] but the original trilogy will always have an elevated place in
[2:12:22] movie history. Absolutely.
[2:12:27] All the right movies ranking. Finally, we've passed all of the
[2:12:32] tests and before we can ride into the sunset, we're
[2:12:34] summarizing our thoughts and scoring the film out of 10.
[2:12:37] And for me, this is a top notch, first rate, top of the pile
[2:12:42] blockbuster. You know, we've rarely seen the
[2:12:45] likes of this kind of blockbuster since 1989, but
[2:12:48] calling it that is is doing less Crusader disservice I think
[2:12:51] because it plunders emotional depths not seen in the series or
[2:12:54] in too many blockbusters previously.
[2:12:57] It's also an irresistible rump with incredible action
[2:12:59] sequences, A dialogue full of charm and hilarity, top rate
[2:13:03] acting and occasion shooting to die for.
[2:13:06] It's pretty much perfect. It is the perennial second best
[2:13:11] indie and I'm no different. I prefer Raiders and that's the
[2:13:14] only thing stopping Last Crusade getting top marks so it's 9.5
[2:13:18] out of 10 for me. OK.
[2:13:20] Yeah, what about USD, I mean. We know my love for these and
[2:13:24] this isn't going to be a surprise to anybody, really
[2:13:26] great as is, and I will. I've gone on record many times
[2:13:29] and said it's my favorite film of all time, the best film ever
[2:13:31] made. And I'll start stand by that.
[2:13:33] This comes very, very close to the nostalgia to it, the love I
[2:13:36] have for it, the childhood memories that I get every time.
[2:13:39] Just just certain scenes come on over, there's a little lick of
[2:13:42] music and I just feel 7 again, 8 again and I just feel like so
[2:13:46] alive again. And the reason I'm also going to
[2:13:48] give this a 10 is because there's never ever going to be
[2:13:51] anything like it. Yeah, You're never going to have
[2:13:53] a Sean Connery and a Harrison Ford coming together like this
[2:13:56] again. It's just never, ever going to
[2:13:57] happen. It's not going to hit all the
[2:13:59] beats that it needs to hit, and it's not going to be as
[2:14:01] successful as this. This is a real success story,
[2:14:04] something I'll hold close to me hard.
[2:14:06] It's definitely secondary at us, but that's not saying much.
[2:14:09] No. It's good and it works and it's
[2:14:11] amazing and it's a 10. Impassioned Westie and no
[2:14:15] surprise about the score. Of course.
[2:14:18] Matt, what about you? I mean, it's part of the
[2:14:20] original Hindu trilogy, so of course I love it.
[2:14:22] Who doesn't? It's barely aged today and it's
[2:14:24] just an absolute joyful romp. And I think that double decision
[2:14:29] to give it a an overtly comic edge and be an overtly emotional
[2:14:33] journey for indie is what makes the film really sing.
[2:14:36] Because plot wise, enemy wise, it is pretty familiar.
[2:14:40] Beats here for certainly the first half, but the action is
[2:14:45] great. The tank sequence is 1 of
[2:14:47] Spielberg's best, the three tests at the end are wonderful,
[2:14:51] and Thord and Connery are just absolute dynamite together.
[2:14:54] So is it as good as Raiders? And of course it's not.
[2:14:58] In most ways. It's a bit softer, it's a bit
[2:15:00] familiar, it's following the template rather than
[2:15:03] establishing it. But on the other hand, it's
[2:15:05] funnier and it's much more emotional, and I think when you
[2:15:08] really analyze it and picked it apart like we've done, it's
[2:15:11] really brought home how difficult it was for this film
[2:15:15] to exist in the way it does. The writing is just superb and
[2:15:18] it looks effortless and it looks easy, and I think you have to
[2:15:21] really look at what it seems to appreciate the craft that's gone
[2:15:23] into it. Is this top marks in the way
[2:15:26] that Raiders is? No, but I think you can't have
[2:15:28] different kinds of 10s and for the way that this makes me feel
[2:15:33] at the end inferred how it wraps the character up.
[2:15:35] Or so we thought. It's still a 10 all the way.
[2:15:39] Beautiful. Very high score and so far, but
[2:15:42] we have our 4th and final score for Last Crusade and that's
[2:15:45] coming from our art and followers on X right?
[2:15:48] They know a classic when they see one, and there was a lot of
[2:15:50] interest in this poll. Here we go.
[2:15:53] From Ryan D at Doug under score 85 he said.
[2:15:56] Absolute masterpiece. 10 Connery and Ford as father and son is
[2:16:00] fantastic. It's a rare film which can get
[2:16:02] away with them driving through Salzburg before chancing on a
[2:16:05] sign pointing right to Venice 170 miles South and left, the
[2:16:08] Berlin 330 miles north and absolutely nowhere else.
[2:16:13] That's a good point, never thought about that.
[2:16:17] Ian Cusick at Ian Cusick said 8.5 Some of the effects have an
[2:16:21] age well always hit at the scene in the tunnel where the small
[2:16:25] planes wings have been cut off. All right, Yeah.
[2:16:28] It's a great, fun movie but always feels as though it's set
[2:16:31] up to say goodbye. Shame they didn't in hindsight.
[2:16:35] Yeah, yeah, Mark Crandley at M, Crandley said.
[2:16:39] I think it's maybe A5. I have no clue why this doesn't
[2:16:42] get the same scrutiny as the other sequels.
[2:16:44] It devolves into such silliness, especially in the detour into
[2:16:47] Germany. It has a slow pace and fewer
[2:16:49] peaks than its two predecessors, and Connery feels out of place.
[2:16:54] Wow. All right.
[2:16:55] OK, I've heard and I. Wouldn't have thought that in a
[2:16:57] million years, but that's that's, I mean, that's.
[2:16:59] That's an original. I've heard before.
[2:17:01] Yeah, it's an original. Opinion.
[2:17:02] Yeah, why not? Love that.
[2:17:04] He's another one from P Miller at Steer Ride BMX he said.
[2:17:11] Not a fan and I can't wrap my head around why it's held in
[2:17:14] such esteem. The father son banter is what
[2:17:17] the kids call cringe. I'd rather rewatch Crystal
[2:17:21] Skull, although I might say it's not as terrible as Dial of
[2:17:23] Destiny I. Mean.
[2:17:25] Fair enough, You know that's fine.
[2:17:26] Everybody's got their opinion. That's what makes the world go
[2:17:29] round. Yeah.
[2:17:31] So a great cross section of opinions there.
[2:17:33] Some surprising ones, certainly. Yeah.
[2:17:35] What do you think last crusades averaged out of 10 on X chaps.
[2:17:40] I think it's going to be resoundingly positive, isn't it,
[2:17:42] man? I think we're probably going to
[2:17:43] have to look at about a nine or a 9.5.
[2:17:45] I'll go on 9.5. I think some people won't give
[2:17:47] it the 10 because the rate paid is that high.
[2:17:50] The one the one looked at the main messages, they'll go 9.5.
[2:17:53] Yeah. Oh well, you're on the money.
[2:17:55] The pair of you sound working out.
[2:17:58] It got a big time 9.5 out of 10 from our followers on XA.
[2:18:01] Huge score for a huge film it is.
[2:18:03] So with the scores from X and our scores combined that gives
[2:18:07] Indiana Jones and the Last Crusade a big time 39 out of 40.
[2:18:12] A huge score coming next time on all the right movies.
[2:18:16] John Westie and Matt will be scale and heights we have yet to
[2:18:19] in our history. It is finally here Matt.
[2:18:21] A Disney film no doubt. Julie Andrews, Mary Poppins.
[2:18:26] Yes, Mary, Mary Poppins. Incredible impressions will be
[2:18:30] coming on that one, no doubt. What a.
[2:18:31] Treat, that'll be That'll be lots of fun.
[2:18:33] Outside of our classic podcast, we are super busy here at ACRM.
[2:18:37] Our latest episode of Double Feature came out last week.
[2:18:40] We went all AD sleaze as we dug deep into To Live and Die in LA
[2:18:44] and Manhunter 2 classic star in the obviously well known William
[2:18:48] Peterson. All right, get over it.
[2:18:54] A great episode that 12 great. Films.
[2:18:56] It was, yeah. Loads of fun that's exclusive to
[2:18:59] our supporters on Patreon, as is a brand new episode of our
[2:19:02] monthly review show The Watch List, which will be with you
[2:19:04] next Friday. So sign up to patreon.com/all
[2:19:09] the Right Movies to support us and get access to hundreds of
[2:19:12] podcasts created by us. Guys, be sure to choose.
[2:19:17] Wisely outside of those podcasts.
[2:19:21] The regular episodes of Showreel coming out every two weeks
[2:19:23] alternate to this show. As we said before, we'll see it
[2:19:27] again. If you're enjoying what we're
[2:19:28] doing here, please, please, please consider giving us a
[2:19:30] positive rate on our podcast, Spotify or Pod Chaser or any of
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[2:19:36] That'll take you 60 seconds, but it really makes the world a
[2:19:39] difference to us. If you could find it in your
[2:19:40] home, He does. Yes.
[2:19:41] Thank you so much guys. In between all of our podcasts,
[2:19:45] we are active on social media every day.
[2:19:47] On X we are at 80 right movies. We have a loyal group of
[2:19:50] followers who absolutely love our making of movie threads.
[2:19:53] Just like our podcasts, they tell the making of story from
[2:19:55] classic and hit films. And just like our podcasts, all
[2:19:58] the behind the scenes stories we tell come from the cast and crew
[2:20:01] or is verified by at least three sources.
[2:20:03] So go check them out, you are bound to love them.
[2:20:06] Yeah, you. Will indeed on Instagram and
[2:20:08] Threads, we are at all the under score right movies.
[2:20:10] Our threads are on threads as well, and they're also on Blue
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[2:20:17] search at All the Right Movies. We also have a Facebook group.
[2:20:20] The door is open for you to walk right in and enjoy some great
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[2:20:27] No couple of questions, but you know, that's quite.
[2:20:29] Easy. They're pretty easy.
[2:20:30] We are on YouTube as well. Watch our videos if you can
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[2:20:35] That's youtube.com/all the right movies and our website is all
[2:20:39] the right movies.com. It is.
[2:20:41] And that is a wrap everyone. It was rather wonderful, wasn't
[2:20:44] it? It.
[2:20:45] Was rather wonderful. We're going to Castle Brunval to
[2:20:48] view the tapestries. Don't forget to come back in two
[2:20:52] weeks for Mary Poppins and sign up to be an ATRM patron if you
[2:20:55] can. Thanks everyone.
[2:20:57] Yes. Thank you so much guys.
[2:20:59] We have many deputies. How dare you?
[2:21:26] Does anyone here speak English?

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