Indy's brother
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Montana Smith said:The thought crossed my mind that Raiders ended with a Kafkaesque pessimism about bureaucracy, whereas the dark journey of Temple of Doom ended with a typically Hollywood happy-clappy family finale, as though it was a tacked-on apology for the preceding horrors.
The following two films were a continued apology for the darkness of TOD, where in fact Raiders had already set a benchmark for avoiding excessive the 'lightness' that might be associated with family movies.
My oft-spewed opinion of the ending of these films is very in line with your summation. ROTLA had the best ending of all 4. It was majestic, unsettling, and the tone was perfectly satisfying thanks to John Williams brilliant score. I would absolutely LOVE a 5th to attempt something similar, as opposed to the traditional "Hollywood Happy Endings" that were designed to have audiences skipping down the aisles of the theater on their way out the door.
ROTLA had the brave ending that was a bit of a cliffhanger in itself. The destiny of the Ark wasn't certain. It left an ominous feeling of dread, uncertainty, intrigue, and left us with the feeling that as tough, lucky, and smart as Indy is, his adventure was to be buried and overshadowed by higher powers beyond his control. Both spiritual and bureaucratic. By framing and ending the tale in a bigger world full of unseen dangers, it brought Indy closer to us in a way that an endings that wrap up all the loose ends can't. After all, there are no happy endings in real life. Because life doesn't end until you do, and really, how happy is that?
I will say that LC had the best of the happy endings for Indy. In no small part due to Spielberg's overall intent of the scene. KOTCS' ending was brilliant in it's own way, leaving it open for another film, but also closing the door on the franchise if need be. I'll give it that. TOD had the weakest, imho.
As for the "lightness" associated with "family movies" that you mention, I think that this approach most likely came after the box-office numbers of ROTLA proved that people were taking their kids to see it, and the following movies were adjusted a bit to cater to the idea that people were taking their families to see them. I mean, if anyone needs proof of that, just consider Indy's sidekick in TOD....and then his sidekick in LC....and his main sidekick in KOTCS....seeing a pattern that wasn't in ROTLA?
ROTLA: underaged ex-girlfriend
TOD: adopted son
LC: biological father
KOTCS: estranged illegitimate biological son, and his eventual wife
Each movie brought Indy closer and closer to a whole, traditional family.
Here's an idea to get back to the original feel, how about Indy getting reunited with an ex-partner that he screwed over. Male, since we don't need to see a 70-year old man flirt with or seduce a woman. Perhaps a military ally, or an academic peer of some stripe. Then he has to work together for a common goal, while trying to make up for his past betrayal or whatever. Get away from the family thing (at least a little) for one movie, and have an ending that doesn't solve every conflict in the adventure, or wrap everything up in a neat little package. Leave us something uncertain to mull over. THAT'S what I would like to see.
Of course, if done right it would just make me instantly want more:
But isn't that what a great film is supposed to make you feel like when it's over?
That's how I feel to this day as the credits roll in Raiders of The Lost Ark.