Over these four decades, Indiana Jones has become nostalgic for some. It has also won extra hearts of many through its adventures, battles against Nazis, and its diverse use of languages.
The story began in 1936, on the eve of World War II. During this sombre period, American entertainment on the silver screen was dominated by Noir and Western genres, and Indiana Jones is rooted in these genres. The influence of Noir aesthetics is notable in the characters' costumes and hats, especially in 'Raiders of the Lost Ark' (directed by Steven Spielberg, 1981). Even the protagonist, with his modernized Western-inspired look featuring a fedora-style hat, leather jacket, and whip, reflects these influences. Not only these elements but also certain techniques, desert settings, and character types are reminiscent of these genres.
The franchise did not age well, not only in terms of dated special effects and lack of diversity. Indiana Jones (Harrison Ford), the titular protagonist, is an epitome of contemporary problems.
In these films, the central character is typically a white straight cisgender male American who embodies retrograde manifest destiny, the white saviour trope, and traditional masculinity. The narratives often revolve around his adventures in foreign lands, where the local inhabitants are frequently portrayed as villains, savages, or primitive lands with armed individuals with basic weapons like bows, arrows, and swords. These characters are often devoid of depth, personality, identity or culture; it perpetuates negative stereotypes. It's worth mentioning that in 'Indiana Jones and the Kingdom of the Crystal Skull' (2008), the resemblance of Incan culture to extra-terrestrials suggests a conspiracy theory that reinforces American culture as superior and marginalizes Native American culture. Furthermore, in the end, the destruction of the Incan monument occurs.
In contrast with Indiana Jones. He is portrayed as highly educated, possessing extraordinary abilities or superpowers, and is a fervent believer in the concept of manifest destiny with rescuing historical artefacts from stealing, when he does it for the American museums. This ideology, rooted in the 19th-century Westward Expansion, posits that the United States is divinely ordained to expand its influence, propagate democracy, and advance capitalism across the North American continent. It's important to note he is a fallible hero. The films frequently emphasize his fragile masculinity through his weakness, fear of snakes.
Throughout the films, female characters are often relegated to secondary roles. Women are frequently objectified and portrayed as passive sidekicks. In many cases, Indiana Jones's romantic partners are depicted as damsels in distress who serve as rewards for his adventures. Indiana Jones himself is typically portrayed as brutal and aggressive.
Marion Ravenwood (Karen Allen) is a character known for her independence and intelligent with multilingual abilities. She's not one to easily reveal her emotions and enjoys indulging in a drink. Marion is an active character who often devises imaginative plans and fearlessly confronts villains through took advantage of her femininity. Interestingly, her weapon of choice is a frying pan, a subtle nod to domestic roles. Near the end of the story, Marion finds herself in need of rescue, with Indiana Jones coming to her aid. His endgame.
Willie Scott (Kate Capshaw) embodies a blend of the 'dumb blonde' stereotype and a character who is often portrayed as hysterical, materialistic, fussy, and ignorant of other cultures. Despite these traits, she displays an unexpected ability to speak Chinese in the film. Throughout the story, she forms a bond with Short Round (Ke Huy Quan), which suggests a nurturing and maternal role on her part. Her character is notably dependent on Indiana Jones for support and guidance.
Dr. Elsa Schneider (Alison Doody) is the first female character in the film who is portrayed as equal to the protagonist in terms of having a PhD, being independent, and expressing her sexuality openly. However, she is depicted as a femme fatale, and her uncertainties are conveyed through the use of Dutch angles—a technique often used in film noir to indicate contradictory characters. She embodies the typical characteristics of a noir film character: an attractive and seductive woman who brings distress or disaster to the men who become involved with her.
In contrast to the previously mentioned characters, Irina Spalko (Cate Blanchett) does not engage in a romantic relationship with Indiana Jones. Instead, she is portrayed as a formidable villain, marking the first female antagonist in the series. She possesses extraordinary power and intelligence as a military scientist for the Soviet Army. Her remarkable abilities, including psychic powers, often instill fear in those around her, leading to some referring to her as a 'witch.' Additionally, she is highly skilled in fencing and martial arts, and she wields a rapier.
Helena Shaw (Phoebe Waller-Bridge) is the godchild of the protagonist, and she happens to be the daughter of his longtime friend, Basil Shaw (portrayed by Toby Jones). Helena is a significant character as she represents a departure from the usual romantic storyline with female characters. This relationship with Helena sheds light on his paternal side. She's portrayed as a dubious mercenary sidekick, but at the same time, she's a notorious Jones’ successor who she shares similar mannerisms, intelligence and aspirations with. In parallel with the background they are in, 1960s, the decade of revolution including the women's emancipation.
Besides them, there were also unnamed female students in Indiana Jones who were attracted to him. This, once again, reinforces a stereotype that suggests women are interested in hook ups rather than books.
It is relevant to mention that throughout the decades, the protagonist’s masculinity evolved somewhat. In 'Indiana Jones and the Temple of Doom,' the protagonist's relationship with a child is portrayed. It is evident that the child is following in his footsteps, both literally and metaphorically, through copycat shots and personality traits. Similar with his relationship with his goddaughter, Helena Shaw, that shows his fatherhood, and her relationship with Tedddy (Ethann Isidore), which is similar.
In 'Indiana Jones and the Kingdom of the Crystal Skull,' the audience and Indiana Jones are introduced to his previously unknown son, Mutt Williams (Shia LeBeouf). Mutt contributes to the narrative as the binary opposite of his father, displaying youthful arrogance, while Indiana Jones is older and wiser. Additionally, he is rebellious, did not finish school, but is intelligent and possesses practical adventure skills.
A parallel to that is his own relationship with his father explored in Indiana Jones and the Last Crusade. His father, Henry Jones (Sean Connery), was emotionally absent and strict. There is a competition between them; he keeps diminishing him by calling him 'Junior' and expresses constant disbelief throughout the film. However, their passions, archaeology, and medieval literature, align, and they reconnect.
The 1980s marked the end of the New Hollywood, which was a time period where many films explored new masculinity intertwined with fatherhood. In contrast to post-war heroes and their hard bodies in action films, fatherhood is a narrative often used to portray the deeper aspects of masculinity, growth, and complexity in male characters. Therefore, it provides more layers to the characters and can be a strategy to further popularize the character, being more relatable rather than achieving an unattaible skills or physical conditions.
The flop of the last Indiana Jones suggests the farewell for the franchise and the genre; it might say hi to prequels or TV-series. The franchise paved the way and created an adventure subgenre that inspired subsequent productions like The Mummy(Stephen Sommers, 1999), The Pirates of the Caribbean (Gore Verbinski, 2003), Journey to the Center of the Earth (Eric Brevig, 2008), among others.
Indiana Jones and the Dial of Destiny is on streaming now (Disney+). The film remains as a homage to the franchise with clear references with the same essence. More diversity and respectful representation of the foreign countries, even though the permanence of the use of the swords. Including a scene where the villains are with weapons while him is with his wipe. The hero is more vulnerable due to a mourning.
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