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Old 12-27-2007, 10:20 PM   #16
No Ticket
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Join Date: Jul 2007
Location: South America, 1936
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Quote:
Originally Posted by Attila the Professor
This is true. As an actor, I'm a dialogue man, through and through.

Although, I'll offer up some defense: Donovan, the benign art collector, ought to be a bit of a milquetoast, so as to make the revelation of his true colors so much more out of left field. He seems like a man who would have engaging cocktail parties in his elegant penthouse, perhaps like a man who "would sell his mother for an Estruscan vase" (one gets the feeling that Walter neglects his guests on a regular basis), but not at all one who "would sell his country and his soul to the slime of humanity." Even the line that is called back to, about not trusting anyone, really doesn't telegraph anything at the time. The even kept him off of the poster, except for a small image of him standing on the sideboard of the one car. It's all to justify that rumble of thunder, really.

I agree, why would there be tension when Indy has no reason to doubt what he is saying... it has to be a complete surprise to both Indy and the audience. I did like the dialogue between the two. Indy if anything, is bored with his discussion in the first place... he doesn't really have interest in this, until he finds out about his father.

This scene never really bothered me. I think it's only more boring now if you've seen it quite a number of times. "You've got the wrong Jones..." "Try my father."

"We already have. Your father's the one who's gone missing."

Something along those lines.
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