Film, Partisan Cinema

Partisan Cinema: INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (2008) – Better Dead Than Red!

In a recurring feature called Partisan Cinema, we look at movies from a political slant, gleaning insight from them about how they relate to society then, and indeed now…

Politics and Indiana Jones have always gone hand in hand, despite the series being the epitome of adventure serial derring do extrapolated for a modern blockbuster audience.

Raiders of the Lost Ark and Last Crusade both featured Nazi villains in advance of the Second World War, seeking supernatural arcanum to help win a conflict they had yet to start. In the latter, Harrison Ford’s hero Indy even comes face to face with Adolf Hitler himself, amidst a terrifying Nazi rally in the burning cauldron of 1938 Berlin. While the films avoided any significant political commentary, opting instead for action, spectacle and mystery, the ideological differences between the Allied and Axis worlds were clear. The Nazis were grave robbing parasites determined to pillage history for their own pure blood gain, while Dr. Jones represented a noble America, a land of heroic saviours of antiquity.

“It belongs in a museum!” Indy would bark at corrupt inversions of himself. “So do you!” they would bark back, perhaps presaging his own irrelevance.

Steven Spielberg is not a creative who ignores history, or whitewashes truth. He has given us some of the more pointed political tracts about WW2 and the echoes of that conflict of the last fifty years. His Indiana Jones pictures are nevertheless simpler, designed first and foremost to entertain rather than convey polemic. Temple of Doom, the middle child film between two masterpieces, paints a picture of the British as colonial saviours in pre-partition India, saving poor locals from the murderous Thuggee cult. This is a pleasant fiction and one many audiences can accept, particularly American ones. Yet the most recent film in the series, Kingdom of the Crystal Skull, wears its politics more clearly, befitting perhaps its arrival in a more polarised era, in the shadow of a Great Recession, as opposed to the bombast of blockbuster Reaganite excess the original trilogy embodied in the 1980s.

Here, set toward the end of the ‘50s, Indy is painted as a suspected Communist as, for the first time in the series, the existential threat comes home.

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