Steven Spielberg
Indiana Jones - L'Ultima Crociata

The undersigned, not too long ago, was a little child deeply interested in esotericism, medieval legends, and religious mysteries. Like a modern-day Perceval, I was particularly fascinated by the Holy Grail, the cup that, by tradition, Jesus used during the Last Supper and that collected the Messiah's blood after his death. So, I often scoured websites in search of news about the chalice. Nevertheless, I was amazed every time I watched "The Last Crusade," the third (and for now last) chapter of the Indiana Jones saga, which deals precisely with Indy's quest for the Grail. That finale, so mystically thrilling, always left something inside me, a feeling that this film truly managed to speak about God.

Today, the undersigned has grown. Perhaps, at least. I no longer believe in a God in the infinite and quite comfortably adhere to Feuerbach's ideas. But if, understandably, this doesn't interest most people, it must be said that my opinion of the film hasn't changed much. In my view, "Indiana Jones and The Last Crusade" is a well-directed, entertaining film with one of its strengths in the finale, often managing to break the screen and engage the viewer. Steven Spielberg and George Lucas deliver a blockbuster that, years later, still has something to say.

Indiana Jones's father, marvelously portrayed by Sean Connery, has been kidnapped by the Nazis because his research on the Holy Grail took a turn after discovering a stele that offered new research perspectives. Indy (naturally played by Harrison Ford) resumes his research where his father left off and, amidst the mysteries of Venice, understands where the precious chalice is located: in the Temple of the Crescent Moon. Indiana manages to free his father, held captive in a German castle, retrieve his notes, and embark with him on the quest for the holy cup. But the Nazis have beaten them to it, and to complete their mission, they decide to use Indiana Jones's ingenuity, forcing him to reach the Grail to save his father, mortally wounded by the Germans.

The film is probably the most successful of the whip-wielding archaeologist's saga because it skillfully utilizes some directorial and scriptwriting intuitions. I've already mentioned that hint of mysticism that permeates the film, but the irony present in the story is also fundamental: even if Ford shows good levels, his dialogues with the fantastic Connery and Denholm Elliott (who plays the bumbling Marcus Brody) certainly elevate the film to levels not reached by the previous two. Despite the risk in some scenes of the film sliding into impossible gags, Spielberg's direction and the cast are convincing, often managing to make you smile and move the story forward. It's needless to underline the work of George Lucas, as well as the superb one by John Williams.

In short, definitely a well-conceived work capable of entertaining the viewer. The rumors about the production of Indiana Jones 4 are no longer just whispers, which will allow Harrison Ford to don the adventurer archaeologist's gear again, probably in 2008. Let's hope that the acclaimed Lucas/Spielberg duo starts from the strengths of this chapter and doesn't dish out the usual, indigestible, reheated soup just to make a few bucks.