Hitchcockian Indy V

Attila the Professor

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So there's been some rumblings going on at the Raven for awhile...


segask said:
Kaminski makes all his outdoor location footage look like it was shot in a studio. For Indiana Jones that's all wrong. Indy movies should be bright and sunny.

But I guess Spielberg wanted that look for this one. Notice how in the beginning when Indy is pulled out of the trunk it looks like it was shot outdoors. Then when we see the first shot of Spalko, it switches to studio filming.

Hitchcock would do that sort of thing on purpose. Jimmy Stewart or Cary Grant would be in an outdoors scene, then for a brief second or two we would see the character in an obvious rear screen studio shot, then it would be back outdoors again. I never fully understood why Hitch did that.

|ZiR| said:
Speaking of Doris Day, though, I could definitely picture Indy going to see The Man Who Knew Too Much, and other Hitchcock offerings.

Athenee said:
I bet Indy would love Hitchcock's movies--like "The Birds", just to get Marion to shriek and leap into his lap... oh, in the novelization, they made a big thing about her being afraid of heights-- "Vertigo"? (Hitchcock, not U-2!) :D

emtiem said:
So either [Mutt]'ll have to be away somewhere, or you have to chuck Indy into a situation where he has to get away from everyone he knows.
That's why I'd like a Hitchcock North By Northwest-style Indy 5: Indy's framed for murder or somesuch (obviously he knows too much about the location of some relic or his theories have to be discredited or something) and has to go on the run- on his own withouth Marion or Mutt. That also fits the 50's feel very nicely.

Wilhelm said:
I didn't like the FBI scene when I watched KOTCS the first time: it was too talky and abrupt with the style / storyline. But now I appreciate it more because the scene has a Hitchcockian feeling with the "wrong man" theme. I like the confrontation between reality (FBI, Cold War, Witch Hunt) with irreality (Aliens, Irina, KGB spies infiltrating an american base). In fact all the opening is surreal and dreamlike from Spalko' strange look to Doomtown. Hitchcock would continue the story with Indy and the FBI agents going back to the Hangar 51 and finding only airplane components inside the boxes and no trace of Irina, Aliens or russians (Like in North By Northwest when they go back to Townsend's house). In Darabont's script there are a lot more of Hitchcock elements during the first act (Maybe too many).

Darth Vile said:
Personally - I think the ?Indy on the run? idea is much better than the ?suspect commie? subplot of KOTCS. And for that reason, I think ?The City of the Gods? screenplay misses it?s opportunity a lot more. Who knows? perhaps Lucas/Spielberg vetoed the idea of Indy IV going Hitchcock?esque? But again? I can only react to what I read on the page.

emtiem said:
I'd love to see that; particularly a sort of Hitchcock version, which of course would fit in the 50's style so well. Stick him in the Monaco of 'To Catch a Thief', have him framed for murder by people who want him to shut up about his latest discovery so they can keep it all to themselves and send him off on a shiny train; lovely job. Also of course it gives us a good reason for Indy to be without his new family for most if not all of the film, depending on how you feel about them (although I have no particular objection to Mutt). That then leads on fairly naturally to a corrupt police force and some sort of Da Vinci-code style secret society, which I don't mind the idea of either.

Darth Vile said:
...for me I'd like to see a move away from the chase/hunt/search for a religious artifact. I don't have an issue with an indirect involvement of an artifact... but personally I'd like to see the next Indy movie (if one ever happens) with Indy in the middle of a situation (rather than going on another quest for the "same ole' same ole").

I very much like the idea of Indy being on the run i.e. accussed of something he hasen't done a la 'The 39 Steps', 'The Fugitive' etc. I like the notion of Indy being hired (in keeping with Lucas' "Bounty Hunter" ideas of him), to give safe passage across some geography/location a la 'True Grit'. And I very much like the much talked about "Haunted Castle" possibility. Imagine all the secret passageways, doors and booby traps they could work into that... :)

If they went with those 3 basic concepts, the MacGuffin becomes a lot less primary, and is not weighed down by all the required expositional historical/emotional baggage.

Attila the Professor said:
Nice thoughts there, Darth Vile - there's also the old "artifact in the bowling bag" trick used in Darabont's City of the Gods, which I thought was a pretty inspired idea. Really go Hitchcock for the fifth, y'know?

Darth Vile said:
Agreed - the espionage type stuff from Darabont's was the best element to that script (IMHO). I'd certainly relish a Hitchcock approach for a fifth.

Darth Vile said:
I liked the rooftop scene specifically because it was reminiscent of Alfred Hitchcock movies. However, I'm not convinced it's anything more imaginative than what appeared in KOTCS or the other movies. There is also no guarantee of course that if it were filmed, it would be any better than what appeared in KOTCS. ;)

Darth Vile said:
I'd go along with that... although, as we?ve mentioned before, I think Spielberg would probably be more inclined to "homage" the early Hitchcock movies e.g. 'The 39 Steps', 'Foreign Correspondent', ?Sabotage? etc. (which I can definitely imagine looking very "Indy").

emtiem said:
Yes definitely- I'd kick it all off with the Indy on the run (he's The Wrong Man, of course) segment from City of the Gods, but have the rooftop chase across 50's Monte Carlo- very Cary Grant.

This advert shows the kind of visual feel it could have, and why not use the washing lines too? :)
http://www.youtube.com/watch?v=GSTC5PwefHk

emtiem said:
Still, I suppose we are getting into the time of spies, so a bit of double crossing and undercover stuff could work okay- that's pretty Hitchcock, after all! In fact, spies would be pretty good baddies too.

Darth Vile said:
Of course we all want an Indy movie to be better than the best? but the bottom line is that they are action/adventure movies (albeit expensive/big production value ones). Of course that's not to say I wouldn't want to see a cross genre Indy movie (I've been vocal about wanting to see a Hitchcock type Indy movie for any possible Indy V).
 
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Attila the Professor

Moderator
Staff member
Initial post, continued

Attila the Professor said:
Come on fellas, <I>visuals</I>, like this:

north+by+northwest+mercedes.jpeg


I increasingly think the Hitchcock notes of the City of the Gods script were good ones, and worth pursuing in some part.


Montana Smith said:
Yes!

Immersive mystery and supense.

Dial%20M%20For%20Murder%20pic%201.jpg




Attila the Professor said:
I'm thinking the whole bit with the crystal skull being found in a bowling ball bag and the mysterious hotel room. Perhaps some of the museum material as well, with the assassin. Only stateside stuff.

Indy's brother said:
The Stairway of Ahaz......hmmmmm. Where on earth could I find something visually fitting for 50's sci-fi, and Indiana Jones. O wait, I know, my thread about Indy 5 locations!

2851420726_b336f8d331.jpg

Thanks for finding that one, Yure!

Montana Smith said:
As IB, wrote, those stairs do have a very 1950s look to them. They remind me of some of the stylized, blocky cartoons of the period.

Attila the Professor said:
Or this, of course, as Yure and Indy's brother both noted in the prior thread:

vertigo-staircase1.jpg

Montana Smith said:
Another Hitchcock reference. If only they could actually get away with a Hitchcock-inspired Indy, as in North By Northwest.

Attila the Professor said:
Hmm: a number of us have bandied about the notion of a Hitchcock influence, any of the "wrong man" scenario films in particular. Anyone out there who could be James Mason-esque?

kongisking said:
I think Frank Darabont was going for a Hitchcock-style Indiana Jones thriller with the first act of his City of the Gods script. It actually works much better than you'd expect.

Montana Smith said:
It would have been much closer to "awesome" if he hadn't noticed Mutt on the platform, that Indy just kept going on that train, heading into the mystery alone. Play out the role of a Hitchcock protagonist, perfect for the McCarthy erea of foreign agents and suspicion, meeting new companions, and completely avoiding marriage and fatherhood.

Take that "Train to New York, overnight to London", then "Leipzig", heading ever closer towards Russia, and another route to the Skull.

Montana Smith said:
If this film happens, it won't be traditional, by virtue of the age of the leading actor. We will either see Mutt taking on the action, and Indy once more emasculated in the back seat, or we will see a different kind of movie in which an older actor can play the hero without being over-active: a psychological thriller in the Hitchcock mould. And I can't see anyone going for the latter in great numbers, which leaves Mutt, and therefore Indy 5 might as well be called Mutt 1.

Montana Smith said:
Not sure they would revisit that Indy vs the US military plot. I'd like to see him abroad with a foreign nemesis, unless #5 was bold enough to go the Hitchcock route with a North by Northwest thriller at home. (Such a tale of intrigue would better suit the more mature character, but not necessarily the audience expecting KOTCS part 2.


* * *

This has mostly just been a handful of us, but there's real potential here, I believe. But how fully Hitchcockian could they really go? Is there any way they would skip the ancient temple scenes? How does a "wrong man on a train" scenario lead up to that? Or do all the temples come earlier? (Probably not.) How strong an idea is this?
 

The Man

Well-known member
Montana and myself discussed such a possibility in the the Shutter Island thread on Sunday. It's a wonderful idea...which almost certainly precludes it from bearing fruit.
 

Attila the Professor

Moderator
Staff member
The Man said:
Montana and myself discussed such a possibility in the the Shutter Island thread on Sunday. It's a wonderful idea...which almost certainly precludes it from bearing fruit.

That's right, you had! I'd limited the search to "The Films," so anything beyond that point didn't make it in.

To add them to the list, Moedred-style...

Montana Smith said:
It reminded me a lot of Hitchcock. The 1954 setting immediately had me thinking how the older Indy would fit into a film noire nightmare such as this. The cliffhangers are as much psychological as physical.

What a brave leap it would be for Indy V to go the Hitchcock/Kafka route. A joyful kick in the teeth for the kids who want another KOTCS. Send Indy to hell once more, but not to meet the devil with horns.

The Man said:
I'd love the Mighty Beards to channel Hitch for a fifth, even the relatively lighter touch of North By Northwest, which is one the best Indy set-ups already long done and (crop) dusted...

Montana Smith said:
I think Spielberg would relish the opportunity, and if he really could sink his teeth into a project like that, then Indy would definitely have a viable fifth outing. However, it's not something I'd ever expect to see as Indy is already on a train heading in the opposite direction.
 

Indy's brother

New member
The Man said:
Montana and myself discussed such a possibility in the the Shutter Island thread on Sunday. It's a wonderful idea...which almost certainly precludes it from bearing fruit.

I hate knowing that you're right on this. Jerk.
 

Attila the Professor

Moderator
Staff member
The Man said:
It's a wonderful idea...which almost certainly precludes it from bearing fruit.

And yet...there's that City of Gods script, and its early sections. And Indy being accused of being a Communist in the film we actually got. And that comment near the top of my list about the cinematography, which I'm somewhat skeptical of but might have some truth to it.

And if they will do a fifth one, there's not much more they can imitate globally Stateside. Maybe they'll need to, at the very least, go to some resort, say, Monte Carlo. Or, of course, burn two minutes or so of the film on a train section, either in the States or abroad.
 

Darth Vile

New member
I think the 1950's Indy universe is a perfect fit for a technicolor Hitchcock type thriller. Ford, when scrubbed up, could still be presented as the greying Cary Grant, James Stewart type of hero. I guess the challenge would be the cut off point for cityscape, suit and tie style espionage and the jungle/desert trek which is a prerequisite for an Indy movie. Bring it on I say...
 

Indy's brother

New member
Darth Vile said:
I think the 1950's Indy universe is a perfect fit for a technicolor Hitchcock type thriller. Ford, when scrubbed up, could still be presented as the greying Cary Grant, James Stewart type of hero. I guess the challenge would be the cut off point for cityscape, suit and tie style espionage and the jungle/desert trek which is a prerequisite for an Indy movie. Bring it on I say...

I think that's spot-on. Ford could pull it off, and as far as getting him out of a suit and into his adventure regalia, plenty if not any of the above pics could feature Indy in his gear without any trouble. As long as the plot drives him to do so, and I don't see how that would be too much of a problem. There were plenty of cityscapes in ROTLA (Cairo), Hitchcock could be mined for inspiration while still conforming to the needs of the Indyverse.
 

Attila the Professor

Moderator
Staff member
This is all copied from the general Indy V thread - it was in response to things going on there, but it <I>really</I> belongs here...

It's a little bit tricky, because they already started bleeding into major Harrison Ford movie territory with the "Where's my father?" segments of Last Crusade. Ford's not an idiot; I reckon he'd realize there'd be something strange with Indiana Jones, in plain-clothes, running around a train asking "Where's my family?"

And, frankly, even within the Indiana Jones world, we've had plenty of people who Indy has had to rescue. Most prominently his father, but also Mary Williams and the Ox, and Marion at Tanis. Partially Willie in the cage, but really Short Round saves <I>him</I>. And the Marion at Tanis case is complicated by his need to <I>not</I> rescue her until later.

Makes you wonder whether people would stand for a film in which Indy himself is kidnapped or held for some period of time. Again...it's not as though this is uncommon either. But every other time there's plenty of thugs, and there's really no getting out of it until their backs are turned. I suppose there would be a "trapped in broad daylight" sort of feel to what would be going on in the inevitable train segment of a Hitchcockian version of the film.

Also, I wonder how much original action there is to be had on a train scenario that fits the Indy world. They didn't use up too much in Crusade, fortunately; the one really striking piece is when he swings around on the water tower.

I keep thinking of this all as being in the States, to suit both the inherent North by Northwest nature of it and to satisfy their predilection for not traveling. But maybe Europe would be better. They could start off with the old Scottish castle fishing trip bit, complete with Mutt. Indy sends Mutt off home while he goes to lecture someplace (shades of his father, here). Perhaps he gets caught on the other side of the Iron Curtain (Torn Curtain?), perhaps the train is going to any old place and he's being tailed. With any luck, maybe he'd end up in Vienna for a little Third Man action (not that they didn't already do that in Young Indy). And hopefully we can finally get some arctic or otherwise snowbound action going on.
 

Montana Smith

Active member
Attila the Professor said:
Makes you wonder whether people would stand for a film in which Indy himself is kidnapped or held for some period of time. Again...it's not as though this is uncommon either. But every other time there's plenty of thugs, and there's really no getting out of it until their backs are turned. I suppose there would be a "trapped in broad daylight" sort of feel to what would be going on in the inevitable train segment of a Hitchcockian version of the film.

KOTCS touched on that briefly, with Indy under suspicion after the fridge incident. If General Ross hadn't shown up when he did Indy would have been trapped, unable to prove his innocence, since nobody in authority is willing to believe him. It would have been one of those plot developments where the protagonist is forced to escape to gather the evidence to clear their name.

Attila the Professor said:
Also, I wonder how much original action there is to be had on a train scenario that fits the Indy world. They didn't use up too much in Crusade, fortunately; the one really striking piece is when he swings around on the water tower.

The train itself would be just one method of long-distance escape, providing tension as his pursuers board, and Indy is forced to make a sneaky exit/reboarding.

There's somebody or something out there that will prove his innocence beyond doubt, if only he can reach it.

Attila the Professor said:
I keep thinking of this all as being in the States, to suit both the inherent North by Northwest nature of it and to satisfy their predilection for not traveling.

The States would be an obvious choice, with the option of a long rail journey without borders. And I like the idea of those lonely little communities that pop up in movies which give the option for a shoot-out with little official interfence.

But, as you go on to write...

Attila the Professor said:
But maybe Europe would be better. They could start off with the old Scottish castle fishing trip bit, complete with Mutt. Indy sends Mutt off home while he goes to lecture someplace (shades of his father, here). Perhaps he gets caught on the other side of the Iron Curtain (Torn Curtain?), perhaps the train is going to any old place and he's being tailed. With any luck, maybe he'd end up in Vienna for a little Third Man action (not that they didn't already do that in Young Indy). And hopefully we can finally get some arctic or otherwise snowbound action going on.

Europe would add the Indy-element of foreign travel. I could see him having to get into East Germany to meet a contact, and then eventually get into Russia. Siberia in the snow would be most welcome.
 

TheMutt92

New member
I remember a long time when we were discussing potential Indy V plot lines I remember one came up that started with the murder of one of Indy's colleagues, forcing him to go on the run (perhaps with a supernatural artifact, or part of one, in hand), with the murder charges used to cover up the real reason his pursuers are after him. Could fit in very well with the Hitchcock theme.

Or even something similar to The Man Who Knew Too Much: a dying man/man on the run leaves Indy with an artifact or clue after he is pursued by government agents/mercenaries/what have you/etc.
 

Attila the Professor

Moderator
Staff member
TheMutt92 said:
I remember a long time when we were discussing potential Indy V plot lines I remember one came up that started with the murder of one of Indy's colleagues, forcing him to go on the run (perhaps with a supernatural artifact, or part of one, in hand), with the murder charges used to cover up the real reason his pursuers are after him. Could fit in very well with the Hitchcock theme.

Or even something similar to The Man Who Knew Too Much: a dying man/man on the run leaves Indy with an artifact or clue after he is pursued by government agents/mercenaries/what have you/etc.

Yeah, either of those could do quite nicely. I suppose you wouldn't want to push <I>too</I> heavily on the US government suspecting Indy angle, since we did just do it, but it's an untapped possibility. The City of Gods method of having him mistaken for somebody's agent, and getting the bowling bag with the Crystal Skull in it is another possibility.

The 39 Steps, which is basically North by Northwest in Great Britain, begins with a similar "our protagonist looks like a murderer and must flee" setup, with the clue element of The Man Who Knew Too Much.

On another note, this method could definitely fit in a scene, even if it's just him hiding out for a moment, where we see a fictionalized account of one of Indy's adventures playing out on the big screen. It might not be the fade in (I'm torn between that and the Indy & Mutt do the Monkey King castle opening), but it should make an appearance.
 

emtiem

Well-known member
Attila the Professor said:
I keep thinking of this all as being in the States, to suit both the inherent North by Northwest nature of it and to satisfy their predilection for not traveling. But maybe Europe would be better. They could start off with the old Scottish castle fishing trip bit, complete with Mutt. Indy sends Mutt off home while he goes to lecture someplace (shades of his father, here). Perhaps he gets caught on the other side of the Iron Curtain (Torn Curtain?), perhaps the train is going to any old place and he's being tailed. With any luck, maybe he'd end up in Vienna for a little Third Man action (not that they didn't already do that in Young Indy). And hopefully we can finally get some arctic or otherwise snowbound action going on.

Ooh; Vienna- yeah that's fun. I suppose this is also the time of the Berlin wall; some fun there to be had?
I think a Monaco opening leading up to maybe a mountaintop retreat ending; a bit of cable car action in a Where Eagles Dare style? Some sort of castle/volcano situation?

The Hitchcockian element probably would have to peter out a bit and ultimately Indy's got to go under the ground sooner or later (!), but I think it would work.
 

emtiem

Well-known member
TheMutt92 said:
I remember a long time when we were discussing potential Indy V plot lines I remember one came up that started with the murder of one of Indy's colleagues, forcing him to go on the run (perhaps with a supernatural artifact, or part of one, in hand), with the murder charges used to cover up the real reason his pursuers are after him. Could fit in very well with the Hitchcock theme.

Yeah, I posted one along those lines too a while back. Here's what I said then:

Start the film in perhaps Mexico: Indy is on a field trip with his students (it'd be fun to have him dressed sort of half-college Professor and half adventure Indy: perhaps his normal leather jacket etc. with bow tie and glasses!) but on the way back their bus has been hijacked by bandits. Indy is driving at gunpoint; however the bandits seem panicked by something else- headlights in the distance behind them- they're on the run. Indy meanwhile is concerned by the weather: they're forcing him into a storm that he'd been wary to avoid. He eventually persuades them that the conditions are dangerous and they pull up to an old abandoned hotel as a storm gathers over them. The bandits' pursers catch up with them however, just as a hurricane begins to rage outside! It becomes clear that the bandits have stolen something belonging to the second party and a full battle rages in the old hotel- Indy and his students take the chance to get free, but get caught up in the fight- Indy finds himself doing battle with both sets of antagonists whilst also running through the house saving his students from varying predicaments- much like spinning plates! All the while there's a hurricane raging outside, resulting in people being sucked through the windows, trees smashing through the walls etc. and the whole building being slowly destroyed as both the bandits and their pursuers battle each other and the elements! Eventually Indy rounds up his students into one of the old cage elevators (he takes roll call!) just as he sees the building showing signs of falling apart- he accidentally finds himself with the stolen item which is being fought over (which of course wasn't his priority- he was just trying to save his kids)-a book- and hops in the elevator. He cuts the cables and the elevator plunges to the basement- just as the entire hotel is destroyed by the storm! The college party eventually rise from the wreckage of the storm as Indy considers his new prize...

The next stage of the trip find Indy in Monte Carlo; he's wired ahead about his new discovery and Stanforth appears to continue the students' field trip and take them on. Indy is convinced that the book he has found confirms the existence of an even greater prize concerning the legends surrounding satanic beliefs and tells Marion about this, who has also met him in the city. Indy however is content not to go on another chase and intends to call a press conference in order to allow someone else to find the greater prize. A young up-and coming French adventurer is there (we see TV footage his exploits- he's like a young Indy- everyone thinks Indy is jealous even though he was actually very magnanimous; although slightly annoyed at the youngster's attempts to belittle him) and Indy tells Marion that he'll be happy to pass on what he's found out- he's too old to go chasing this discovery. The Frenchman asks Indy to meet, which they do at a cafe. He tells Indy that he thinks that the book may be from a much rumoured secret library- established by the Vatican and containing a great many banned and dangerous texts: anyone who could find and access the library would be privy to many great secrets. It becomes clear, however, that neither invited the other; they've been set up. Before they can work out who, French is shot in the back- we see a bullet hole in the window behind him as he slumps forward. A woman screams, there is panic with people running and a pistol is kicked towards Indy on the ground. He picks it up just as a camera flashes in his face! He notices the killer escaping over the photographer's shoulder, and just as he makes to go after him the police arrive -too quickly (their chief wears a mysterious pin badge) and Indy is forced to run when they appear to be about to execute him on the spot! He takes to the rooftops and uses the many washing lines to help his escape whilst chasing after the killer. Eventually he heads him off and they fight on the rooftops- first up an old clocktower and then onto the roof- the killer falls to his death as Indy tries to grab onto his jacket to save him, but he falls out of the jacket. Indy checks the jacket- the killer was wearing the same lapel badge as the police chief! He searches through the jacket and finds a train locker key.
He finds Marion and tells her that he has to find out what it's all about- firstly by working out who arranged his meet with the Frenchman and hopefully by finding the hidden library. He tells her that it's dangerous and he has to clear his name alone: she hands him a bag containing his adventure gear: hat, whip and all: she knew what he was planning. Indy makes a run for it as the police arrive: Marion stalls them.
Later, as Indy boards a train in disguise, Marion makes a call to Germany: Mutt is stationed there as a G.I. and she tells him that his father is in trouble- he prepares to go AWOL to go and follow Indy's trail: until he's found by his CO. He is about to stop Mutt when it becomes clear who he's trying to help out: 'You mean Colonel Jones?.......

I thought it being in the 50's a glamorous Hitchcock-feel might be nice to kick the film off: Indy as The Wrong Man and all that! (And obviously there's a shocking North By Northwest ripoff in there too! Actually, why not go the whole hog and have him chased down on foot by two MASH-style helicopters!) Not sure if I made it clear but the idea is that Indy is framed in order to stop the press conference and discredit anything he's already revealed to anyone: someone wants his discovery kept quiet!
Add in a bit of Da Vinci Code-style secret society stuff and you've got some slightly new ground for Indy, although obviously he'll need to get back to riding a horse at some point! I must have a think about it a bit more and work out where he goes...

From there I'd have it go a full conspiracy mode: maybe the Church have long had a secret library full of forbidden texts deep underneath a city somewhere (the Vatican maybe? Too obvious perhaps?); most notable among them is this Delomelanicon, the book written by the Devil himself. Indy discovers proof that this fabled library exists but he's framed for murder before he can reveal this by people who want the secret kept: framing him to discredit his discovery. Their plan, a secret society of conspirators in various high places in society, is to obtain the book and travel to the Ninth Gate. Indy follows the trail and discovers the plan, but they find him and force him to break into the library, battle the guards and steal the book for them! They tell him that they're actually a band of radical priests, and have teamed up with an Industrialist (who has plenty of robot mining machines to dig to the Gate) and a religious nut with his own private army to wage war on the Devil, kill him and free the world from evil. Indy of course thinks that this is A Very Bad Idea.

At the end of the film they get to the Gate (beneath a massive volcano? Bermuda triangle? Perhaps you have to fly into it with the book and the act of turning the pages backwards moves you a second into the future, out of sync with the rest of the world: this is where the Ninth Gate is hidden), and against Indy's efforts they open it: however the villains turn against each other- one doublecrosses the others and reveals that his plan is to free the Devil! The army is killed as they enter the Gate, and then the giant mining machines emerge back through it; with glowing red eyes! Demonically possessed robots! Just then, after searching for Indy all through the film, Mutt and his GI buddies turn up... and all hell breaks loose!
 
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emtiem

Well-known member
Attila the Professor said:
On another note, this method could definitely fit in a scene, even if it's just him hiding out for a moment, where we see a fictionalized account of one of Indy's adventures playing out on the big screen.

Love that idea! :D
 

Stoo

Well-known member
Attila the Professor said:
But how fully Hitchcockian could they really go? Is there any way they would skip the ancient temple scenes?
They could go with the early Hitchcock route (think: "The Farmer's Wife" 1928). Marion dies and Mutt eventually gets married, leaving Indy to think about taking a new wife. After that, each of the 4 women he proposes to REJECTS him and he ends up marrying his housemaid.

No adventure. No treasure hunting. Romantic comedy all the way...:p
 

Indy's brother

New member
Stoo said:
They could go with the early Hitchcock route (think: "The Farmer's Wife" 1928). Marion dies and Mutt eventually gets married, leaving Indy to think about taking a new wife. After that, each of the 4 women he proposes to REJECTS him and he ends up marrying his housemaid.

No adventure. No treasure hunting. Romantic comedy all the way...:p

I just threw up in my mouth a little.
 

00Kevin

Indyfan
back on the raven for the first time in a while...oh man, I don't think i've ever seen a more mouth watering thread than this one in all my years here. the hitchcock indy is really the only way to go; indy on the run, where he has to balance not getting caught with not letting the baddies get the mcguffin. and i love the 50's hitch films so much(my favorite film of all time use to be raiders of the lost arc, but now it's vertigo), it just seems that there are not enough of them

i don't have anything to add, just wanted to say i approve this movement!
 

Montana Smith

Active member
42941_title.jpg


MPW-25357


My pick from the spiral staircases:

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An aging Indy with a dodgy hip, maybe not acrophobic, but these things aren't as easy as they used to be.

Maybe even the fear of heart attack (Hartigan from Frank Miller's Sin City or Eastwood's character in Bloodwork).
 
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