Tag: Film

Why Indiana Jones and the Temple of Doom Is My Favorite Movie: Adventure, Mythology, and Always Landing on Your Feet and the pursuit of Fortune and Glory (sharing a bit of my personal self for those who want to know)

I can hear the groans already.  “Oh, he’s talking about movies again.”  But this one is a bit different and I share some things here that people have been asking about.  I have a lot of new people in my life, and they are asking.  So, I’m addressing their questions in bulk.  People ask me all the time what my favorite movie is. I get the question often enough that I finally decided to answer it properly here. My favorite is Indiana Jones and the Temple of Doom. A lot of people are surprised by that. Many consider it the weakest of the original trilogy. I disagree. For me, it is the one that stuck with me the most, and the reasons go well beyond the surface thrills.

I grew up on adventure. My grandfather was old enough to have lived through the era of the great serials. I saw Zorro with the whip long before I ever saw Indiana Jones crack one. Saturday-morning serial energy was already in my blood. When Raiders of the Lost Ark came out, I thought it was wonderful—maybe the best pure adventure movie ever made. But Temple of Doom became personal.

Reading the Book Before the Movie in Hamilton, Ohio

When I was a kid, I used to go downtown to the shopping center in Hamilton, Ohio, with my mom and grandmother. On the bottom floor, there was a bookstore section. I went straight to the books every time. One day they got me the novelization of Indiana Jones and the Temple of Doom. I read it before I saw the movie. I read it the way I used to read the old adventure books—religiously, over and over. The character already lived in my head before the images did.

That early exposure mattered. George Lucas has always been steeped in mythology. The pursuit of the Grail, the knight who starts out chasing fortune and glory and ends up learning something harder—these patterns were in the water. I did not have the language for it at fourteen or fifteen, but I felt it.

The Night We Snuck Out in Morehead, Kentucky

The memory that sealed it for me happened the summer the movie was in theaters. I was fourteen or fifteen, part of a High Adventure Explorer Post. We were on a week-long trip heading toward whitewater rafting in West Virginia. We stopped to camp just outside Morehead, Kentucky. Hot summer night. The kind of heat that stays with you after dark.

We went into town for snacks, and I spotted the movie theater. Temple of Doom was playing. I grabbed a newspaper, checked the times, and saw the last show was at eleven. Back at camp, the plan was lights out early so we could get up for the next day’s adventure. Around eight or nine, everyone was settling in. Three of us waited, then slipped out.

We walked the two miles into town in the dark, hearts pounding, half-convinced we were going to get caught the whole way. We sat through the movie until about one in the morning. Then we walked the two miles back, still sweating, still listening for any sound that meant trouble. We snuck into our tents, drank some water from the canteen, ate a Slim Jim I had stashed, and tried to sleep. At seven, the camp woke up as if nothing had happened. Nobody said a word. We ate breakfast and headed out for the rafting and the rest of the week’s adventures. Later that summer I flew with my family to the Grand Canyon and all over California. The whole stretch felt like one long Indiana Jones sequence.

I have had many experiences since then. I am older now. I still cannot think of many moments that felt better than that night—walking back in the heat with the movie still running through my head, knowing we had gotten away with it, feeling completely alive. We had lived a small version of the thing we had just watched. Jump in. Trust yourself. Land on your feet.

Why Temple of Doom Hits Different

Raiders gives you the competent, almost invincible Indy. Temple of Doom puts him through the wringer. Poisoned, chased, plane crash, mountain landing, bugs, capture, the blood, the voodoo doll, the forced drinking, the near-sacrifice. They break him down further than in any of the other films. Then he comes out the other side, returns the stones, restores the village, and still walks away with the girl and the open road to the next adventure. “Fortune and glory” at the beginning. Something closer to responsibility and compassion by the end. He keeps the light touch the whole time. The movie never turns grim for its own sake. That balance is rare.

I raised my kids on it. I have raised grandkids on it. The soundtrack still gets played in the car. They know the cues. The film became a shared language in the family for the idea that you can take a beating and still come up swinging with a grin.

Mythology, Campbell, and Earned Freedom

Later I learned more about the deeper currents. Joseph Campbell’s work on the hero’s journey and the Grail legends shaped a generation of storytellers. George Lucas absorbed those patterns. The connection between the Indiana Jones films and older quest stories—Parzival, the wasteland, the knight who must learn before he can restore—is not forced. Temple of Doom functions as a modern version of the hero who starts selfish and ends up doing the right thing for people who cannot help themselves. The Last Crusade made the Grail explicit. Temple of Doom already had the emotional shape.

They also earned the right to make something this wild. After Raiders became a phenomenon, Lucas and Spielberg had the political capital in Hollywood to go darker, stranger, more unhinged—child slavery, Thuggee cult, heart-ripping, the whole fever-dream tone. A movie like that would have a much harder time getting made today. They used the freedom they had earned.

The Lesson That Stuck

For me, the core of it has always been simple. Indiana Jones trusts his ability to land on his feet no matter how bad the situation looks. Plane on fire. Poison. Traps. Brainwashing. Torture. He keeps moving. He keeps improvising. In the end, he is still the same man, only clearer. That attitude got into me early. Jump off the building if you have to. Figure out the landing on the way down. I have needed that more than once.

People who know me mostly through the political writing sometimes raise an eyebrow when I talk about movies. Movies are a shared language. Books are private. A film you both love gives you common ground in five minutes. When hundreds of new people start reading or listening and want to know a little more about the person behind the commentary, this is one of the cleaner ways to open the door. I do not normally spend this much time on personal stories. This one felt worth it.

Indiana Jones and the Temple of Doom is not the most polished film in the series. It is the one that feels most like actual life mixed with myth—messy, punishing, redemptive, and somehow still fun. I have carried its lessons through everything that came after that hot night in Morehead. Fortune and glory are great goals.  Landing on your feet and doing the right thing when it counts is better.

Footnotes

1.  The novelization of Indiana Jones and the Temple of Doom was written by James Kahn and published by Ballantine Books in 1984, timed with the film’s release.

2.  George Lucas has repeatedly acknowledged the influence of Joseph Campbell’s The Hero with a Thousand Faces and related mythological studies on his storytelling, particularly visible in the Star Wars films and carrying over into the adventure structures of the Indiana Jones series. The two later became acquainted; Campbell viewed the original Star Wars trilogy at Skywalker Ranch.

3.  Scholarly and critical readings have linked the Indiana Jones trilogy to Arthurian and Grail-quest patterns (including Chrétien de Troyes’ Perceval and Wolfram von Eschenbach’s Parzival), with Temple of Doom often discussed as a wasteland/otherworld episode and The Last Crusade making the Grail motif explicit.

4.  Howard Kazanjian served as executive producer on Raiders of the Lost Ark and producer on Return of the Jedi, and held a key production role at Lucasfilm during the period.

5.  Indiana Jones and the Temple of Doom (1984) was directed by Steven Spielberg from a story by George Lucas, screenplay by Willard Huyck and Gloria Katz. It is a prequel set in 1935.

Bibliography

Campbell, Joseph. The Hero with a Thousand Faces. Princeton: Princeton University Press, 1949 (and later editions).

Kahn, James. Indiana Jones and the Temple of Doom (novelization). New York: Ballantine Books, 1984.

Lucas, George, and various collaborators. Indiana Jones and the Temple of Doom. Directed by Steven Spielberg. Paramount Pictures, 1984.

Aronstein, Susan. Critical essays on Arthurian narrative patterns in the Indiana Jones trilogy (various academic publications).

Additional reading: Bill Moyers’ interviews with Joseph Campbell (The Power of Myth); production histories of the Indiana Jones films; Wolfram von Eschenbach’s Parzival for the classic Grail-knight arc that echoes in the franchise’s deeper structure.

Rich Hoffman

More about me

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About the Author: Rich Hoffman

Rich Hoffman is an author, political consultant, and strategic advisor based in Cincinnati, Ohio, and the creator of The Politics of Heaven—a unique framework that connects biblical theology, ancient history, and modern power structures to explain how moral alignment and spiritual forces shape global events. Blending real-world political experience with deep research into archaeology, UFO phenomena, and suppressed historical narratives, Hoffman offers compelling commentary on topics ranging from ancient civilizations and the Dead Sea Scrolls to modern populist movements, paranormal continuity, and leadership strategy in chaotic environments. As the author of The Gunfighter’s Guide to Business and the forthcoming Politics of Heaven, he brings a grounded yet provocative voice to media discussions, supported by firsthand experiences and a cross-disciplinary approach that bridges science, history, and theology. For interviews, speaking engagements, or expert analysis, visit richhoffmanbooks.com or contact directly via phone at 513-307-5815 or email at rhoffman@richhoffmanbooks.com.  If you’ve seen the movie, Disclosure Day and want to talk about it and the implications of Presidnet Trump’s UAP disclosures, let me know and we can bring some color to your coverage. https://richhoffmanbooks.com/media-inquiries-broadcast-topics-and-contact-info/?frame-nonce=ad51e7ecba I do have a firsthand UFO encounter to discuss.

‘Indiana Jones and the Dial of Destiny’ is Fantastic: The way they used to make movies, family-friendly, happy endings, and a real love for the audiance

The really good news is that Indiana Jones and the Dial of Destiny is a wonderful movie. I have said it for years, and it’s certainly true here, one of the extraordinary measures of a society’s health is its box office because it tells the world what people are buying at the movie theater as an entertainment option. It accurately describes what kinds of things people really like in the world and provides a measure beyond political beliefs to the truth of public sentiment. It’s much more difficult to understand when you get into television ratings and streaming services. And I think what happened with Indiana Jones and the Dial of Destiny is something that we talked about last year with the release of Top Gun: Maverick, another movie that, like Indiana Jones, was delayed for many years in production before being released to the public. I’m sure that Steven Spielberg will deny it, along with the diversity crew at Disney, but clearly, what happened with Indiana Jones and the newly directed James Mangold Dial of Destiny is that they learned some important lessons with Top Gun, one of the first big hits coming out of Covid. And as a result, Indiana Jones and the Dial of Destiny is a fantastic film that seeks to be more like Raiders of the Lost Ark than the more slapstick Last Crusade. If you understand Indiana Jones like I do, and many people who have been with this character for over four decades now, and have watched all the television shows, read all the books, read the comics, played the video games, this Indiana Jones movie does a great job of showing a very complete character in a way that Hollywood has never had to deal with. And the movie pulls it off spectacularly and very respectfully. As only Harrison Ford could play, this is a very complex character, more so than most reviewers could wrap their minds around, and the result is something extraordinary with a very happy, family-friendly ending. I don’t think there was a single curse word in the entire film, and it didn’t have anything woke in it. It was an offering from Disney that was begging for forgiveness from the movie-going public.

What was clear to me was that this new director, James Mangold, loves Indiana Jones as many of us do, and he understands the character and his significance to actual history. I’ve also said many times that Indiana Jones has done more for science than almost any other resource in the history of the world. The publishing industry has really flourished because of Indiana Jones, not by direct correlation, but the hunger for the kind of content that is often discussed in Indiana Jones films and in Dial of Destiny; a lot is going on, things that work at many different levels that were built around a movie with a true love for the world of Indiana Jones and the way that fiction carries over into fact. I would go so far as to call Dial of Destiny as brilliant and ambitious while being very safe in the continuation of the character. As many have discussed, Indiana Jones is an old man in this movie. Harrison Ford is 80 years old, so we aren’t talking about a swashbuckling Errol Flynn type mixed with Humphrey Bogart as Raiders of the Lost Ark was often characterized back when it was first released. This is something unique and entirely of its own making that now has its own history that everything is measured from. And some of the real Indiana Jones types that are out there in the world doing great work, clearly inspired by these movies over the years, like Graham Hancock, the Joe Rogan Show, and even the religious writer Jonathan Cahn have shown that most of the thrill of Indiana Jones isn’t a youthful man fighting bad guys and escaping under speeding trucks. Over the years, the greatest thrills in Indiana Jones movies are more intellectual than physical, and that’s why Dial of Destiny works so well with an old Indiana Jones doing what only he could.

Instead, I would have Disney not made this Indiana Jones movie before I saw it. I raised my children on these movies; now, my grandchildren are tremendous fans. I enjoyed Kingdom of the Crystal Skull as an ambitious film that many didn’t like because it stepped out of the formula established in the first three films that were all released during Reagan-era politics in the 1980s. As much as people didn’t like the movie, and that Steven Spielberg didn’t seem to want to make it, there were a lot of positive things that came from that fourth film, such as the History Channel’s show Ancient Aliens, which culminated in the lives of great writers like Zecharia Sitchin and Erich von Daniken. These Indiana Jones movies open the broader market for these kinds of unique adventures into history, such as The Gold of the Gods so wonderfully portrays. Indiana Jones may have started as an adventurous playboy grave robber in Raiders of the Lost Ark. But he evolved quickly into the pent-up frustrations of George Lucas himself, a very smart person who wanted to live the lifetimes of dozens of the most brilliant people in all of human history, that over the years was attempted to flush out in all forms of media available to tell these stories. This movie, Dial of Destiny, does all that while still managing to keep Indiana Jones the person we have always known. He shoots guns in this movie, which I thought Disney would avoid altogether. There are fistfights that are not unbelievable for an 80-year-old man. And the development of Helena Shaw was respectful, fun, and dashing. I would easily see a movie that featured her as a main character. Played by Phoebe Waller-Bridge, she was a fun character, and I could see a sequel to Dial of Destiny where she is the feature, and Indiana Jones makes a guest appearance to help the movie along. This might be the last Indiana Jones movie, but I don’t think it will be the last Indiana Jones appearance by Harrison Ford, based on how this movie ended. 

It will be interesting to see how much business this movie does for Disney. Disney has severe brand damage now with their commitment to woke politics. But this movie is a clear peace offering to the ticket-buying public to help repair that brand. To invite people to come back to the theme parks. This is Bob Iger attempting to get Disney back in the public’s good graces. At least this film deserves to be in the billion-dollar club. But the Disney brand has made some people very, very angry. Yet this movie is as good as movies can be made and does not destroy a character the world has fallen in love with. And it leaves the door open to a happy ending for him, given that Indiana Jones is old. And that John Williams, who does a fantastic job with the musical score, as usual, is now in his 90s. This happy movie gives fans what they are looking for, and I couldn’t recommend it more. This is the kind of film that movie theaters were made for, that we used to get all the time in the 80s and 90s, but are now very rare. Indiana Jones and the Dial of Destiny is something special, and it was wonderful to see that movies like this can still be made. 

Rich Hoffman

Click to buy The Gunfighter’s Guide to Business

Woke Disney’s Glaring Problem: The negative impact of Showing the New Indiana Jones Movie at the Cannes Film Festival

I always get excited about new Indiana Jones movies, and I know enough about this upcoming one, the fifth movie in the series over a 40-year period of time, Indiana Jones and the Dial of Destiny, to say I think it’s going to be a pretty good movie, and that I’ll like it. Whenever I go to a bookstore, I see Indiana Jones’s impact on publishing. Most of the top ten books sold in publishing have some kind of Indiana Jones influence. That character was a wonderful creation of George Lucas, a guy who wanted to be either a drag racer or an anthropologist; instead, he became a filmmaker. And what he did was much better for many industries, especially history; he made it fun through the character of Indiana Jones. I see Indiana Jones all over each copy I receive of Biblical Archaeology Review, which I have been getting for over 40 years now. It’s undoubtedly my favorite topic. Because of my very popular blog that, I operate like a newspaper, many people think I am obsessed with politics. And I am very interested in politics. But mythology, comparative religion, and history, in general, are what I put most of my efforts into. I spend about 70 hours a week professionally. I spend about 30 hours a week on political “things.” And the rest of the time, I spend reading, exploring, and contemplating. It is not uncommon, as many people with hostile intent have learned, that I am up often at 2 AM walking around my yard or going up and down my street thinking about things I have read. I don’t sleep much because I love history topics so intensely, and I am always in some sort of study of those topics. Indiana Jones made history as an industry that made normally boring topics, fun, and I think this new film will do much as the previous films have done for the study of history, bring joy and adventure to it, and the human consciousness will grow in healthy ways. 

And because I’m interested in this subject, I watched the coverage of the Cannes Film Festival, which played in the middle part of May in France, where Indiana Jones and the Dial of Destiny was shown to a large audience. The Disney people, especially Bob Iger, the CEO, think they have a good movie in the new Indiana Jones film, and they decided to rush it out to reviewers to get some positive buzz going on the film. And they need it; as I have been talking about, Disney is in big trouble on multiple fronts. They have invested too much in ESG scores, BlackRock political values, and their company’s commitments have been slowly destroying them. They are not the same company they were ten years ago, and ten years from now, I think we will perhaps not see them in entertainment as an influencer at all. It is that bad for Disney. And I’m not a fan of Bob Iger, a big-time liberal who has committed to the global citizen movement, gambling that globalism would be the new transition economic force, so he has steered his company in that direction. But globalism is failing across the world. People want American nationalism, and even in broken-up countries on the other side of the globe, people want to think about the idea of America, not a bunch of bureaucrats in the European Union who the Administrative State so paralyzes they can’t even tie their shoes or a China approach with centrally managed communism that completely steamrolls the individuals of society into mashed potatoes who serve corrupt oligarchs like some top-heavy aristocracy. 

But I don’t think Bob Iger is an idiot. I think he did a pretty good job as the Disney CEO over the previous decade. However, it was a house of cards that was eventually going to fall, so I think it was a horrendous idea for him to return to attempt to save Disney because he was just going to sink himself in the process. He knows he needed a hit with Indiana Jones, so he stepped in and encouraged the filmmakers to make a film that people would want to see, to take out some of the Kathy Kennedy from Lucasfilm’s wokeness that was showing itself to be very unpopular with Bud Light, Target, and essentially the rise of the MAGA movement in politics. Bob and the gang made a pretty good movie that they thought would serve fans enough and not compromise their commitment to ESG measures, and they were in a rush to show it to the public. And, of course, the results were devastating. It was the worst thing they could have done. It would have been better in this media climate to surprise everyone at the release date instead of trying to create positive buzz for the film a month early. Indiana Jones and the Dial of Destiny comes out on June 30th, so that’s a lot of time to have people who now hate Disney because of its commitment to woke policies to criticize everything that they do, from The Little Mermaid to the destruction of Pixar, the ruin of Star Wars, and now another Indiana Jones film that many of the critics who saw the film are saying is worse than Indiana Jones and the Kingdom of the Crystal Skull. 

I personally liked Indiana Jones and the Kingdom of the Crystal Skull. It injected into publishing hundreds and hundreds of interesting books that I spent many thousands of hours reading over the last decade, so I was very happy with it. And I think that will certainly happen with this new movie, The Dial of Destiny, with the plot point being that of the Greek mathematician Archimedes. I think the concept for this film is much more interesting than a time travel movie like Back to the Future. This one deals with quantum entanglement, which people know is something I spend a lot of time considering and the nature of dimensional reality outside our four dimensions. But Disney underestimated the negative power of new media, so once their critics like Variety and the BBC came out negatively against the new Indiana Jones film, the new media types on YouTube, who have become the new influencers, pounced. It didn’t matter how good or bad the new Indiana Jones film was because it’s a Disney project, and as a company that has been committed to woke policies, they have made themselves open season for intense criticism, which will impact the opening of the new film. Iger should have held his cards and just let the film tell its own story when it was released. I’m sure I’ll find things I like about the new film, and I’m sure that the wokeisms will be there and I won’t like those. But I do think that Disney realized that Indiana Jones required some fan service and that they attempted to give that to this new film as a peace offering to their audiences. But it has had the opposite effect, and in some ways, I feel sorry for everyone involved in the film. They are feeling the pain of using their movies to sell political messages that the world doesn’t want. And when they thought they had surrendered to the fans a bit, they have only been slapped harder, which is the story coming out of the Cannes Film Festival. No matter how good the movie is, because of any connection to woke Disney, people are going to hate it because that is the political climate we are all in now. Globalism is the enemy; people know it and express themselves accordingly. 

Rich Hoffman

Click to buy The Gunfighter’s Guide to Business

Bullwhip Consultant on Films

After the Enquire article, one of the natural questions resulting was about how do you consult for films with whips?

Unfortunately, these days there are fewer films using whips as a part of the story line than there was in the early days of cinema. That of course is directly attributable to the decline of the western in modern film and television. But occasionally, a storyline comes forth that requires them, and a decision will be made on how to go about it from the studio. Recently, Whiplash from Iron Man 2 was produced which featured whips of a sort. But their approach was to use film of how a whip moves to create the effects in CGI.

But CGI works great in some cases, but not so great in others, and whip work is something that is more dramatic in real life. And such is a recent call I received from Peter Facinelli who I met at the Indie Gathering Film Festival while I was doing some firewhip work.

This is from the actual stunt demonstration where Peter and the director Rob Gunnerson were a part of.

They approached me about a project they were doing with RealD 3D where they wanted to capture the firewhips with RealD’s new 3D camera system in HD. So I flew out to LA to help them bring that project to life, called for now tentatively, The Delivery.

Peter of course is currently busy with the Twilight franchise, so further development of The Delivery is ongoing.

Here is the trailer that we shot, which consisted of a series of test shots to test the camera equipment. I served as the whip consultant and handler in all whip action. I am particularly proud of the shot we got where I cracked the cigarette backwards using one of my 12 foot bullwhips. The director wanted to do it for real, not in CGI, and we pulled it off with just a few takes.

View the Trailer at the links:
The Delivery 3D Trailer
http://mediaservices.myspace.com/services/media/embed.aspx/m=102190281,t=1,mt=video
The Delivery 3D | MySpace Video

 
More info and production stills can be found at this link.

http://twilighttreasury.blogspot.com/2010/01/peter-facinelli-delivery-3d.html

Here are some images from the shoot:  Here Rob Gunnerson sets me up for the stand in work for Peter who is in the background. 

Here is Mat Wilig, who played the demon, standing with me.  We had the awkward issue of sharing a trailer on set since they were short one and we both had extensive makeup to do.  The very first thing I said to him was something negative about playing for the Panthers because I’m a Tampa Bay fan.  But after that, we got along well.   Matthew is recently retired from the NFL after 14 seasons. He played for 6 teams (New York Jets, Atlanta Falcons, Green Bay Packers, St. Louis Rams, San Francisco 49ers and the Carolina Panthers). He went to 2 Super Bowls while winning 1 and losing the other. He is steadily rising up the Acting ladder and receiving acclaim as his roles get bigger and better.


Here is Rob and Peter going through the shots with me so we can measure distance for all the equipment. 

Here are the Producers, the face paint really got on my nerves after 12 hours.

Peter and I on break. 

Test shot of how the 3D camera’s were capturing the fireball given off by the firewhip.

Rich Hoffman

www.overmanwarrior.com