Once upon a time summer movies were a lot of fun. Even after Steven Spielberg made movie studios aware of the summer blockbuster after people kept coming back for more helpings of Jaws in 1975, studios offered a variety of films that didn't insult our intelligence. Unfortunately, Hollywood began thinking only in terms of creating blockbusters and relying on the summer film waters for their primary revenue--resulting in safe fare that guarantees gargantuan teen audiences. That means more inane teen comedies scripted with TV mentality and containing bathroom humor along with numerous sequels of previous blockbusters for that built in audience that just can't wait to see Scary Movie 2.

Not wanting to rush out to see another helping of American Pie, nor wanting to witness another non-evolutionary Planet of the Apes "re-interpretation," I thought I'd just catch up on DVD editions when I noticed that Raiders of the Lost Ark was playing at a new theater-supper club in town. What a way to beat down the summer movie doldrums! Spielberg's 1981 adventure film has long been one of my favorites, and here was a chance to experience it once again on the big screen.

The film continues to hold up--Indiana Jones still knows how to show us a good time. It's time to give Steven Spielberg his proper due. Even though it's "hip" to bash the most commercially successful director in film history, Spielberg remains a great student of film and he crafts a near perfect adventure film here--filled with exciting scenes, suspense, scenes that build on each other, and using impeccable timing, transitions, and rhythm. Most of all, the film is pure fun!

Spielberg remains true to his life's mission in Raiders of the Lost Ark—the idea of making the kind of movies that people want to see. It's the kind of film that I enjoyed a great deal when growing up and heading to the theater for Saturday morning matinees—I loved the Flash Gordon serials showing before the main feature, and of course had to return each week to see how Flash would get out of the next fix. Indiana Jones works much the same way, escaping from one tight spot only to land in another immediately afterwards in this roller coaster structured thrill ride.

Beginning with a very cool transition from the Paramount logo to a mountain in South America in 1936, archaeologist Indiana Jones (Harrison Ford) pursues a golden idol with some sleazy indigenous guides. In complete control of the camera Spielberg cleverly creates suspense by tracking Jones' expedition through the jungle for nearly five minutes without showing the archaeologist's face, only revealing the intense Indiana after the first attempt on his life. There will be dozens more.

To survive the breath-taking opening sequence Jones must outsmart and outmaneuver tarantulas, poisoned darts, collapsing walls, open pits, a two-ton rolling boulder, and numerous other booby traps before we can take a breather. But that's only a brief pause before Indy must outrace an entire tribe of spear chucking, dart blowing natives through the jungle before arriving at the getaway plane. But what awaits him in the plane?

After one of the most thrilling openers in film history, Spielberg realizes that we have to catch our breath and get oriented, so we find Jones back at the university teaching a class in archaeology. Not for long though--the U.S. government has a special mission for him that will send him across Nepal, Egypt, and a secret submarine base near Greece. It turns out that Spielberg's favorite enemies, Hitler and his Nazis, are fanatically seeking the ultimate artifact of Judaism—the actual chest that contains the original Ten Commandments that God gave Moses on the top of Mount Sinai. According to the lore surrounding the priceless treasure, Indy tells us that "an army which carries the ark before it, is invincible." Indeed, the picture of the rays coming from the ark and the dramatic John Williams music emoting during this revelation prepare us for the coming adventure.

The irony of the most evil enemy of the Jewish people confiscating their most precious artifact to use against them should not be lost on the audience. Note also that his rival, Belloq (Paul Freeman), takes on a role much like Occupied France when the French archaeologist/mercenary assists the Nazis. Spielberg will again refer to the evil Nazis in Indiana Jones and the Lost Crusade before his definitive exposition on them in Schindler's List. But the screenplay written by Lawrence Kasdan based on story ideas by Philip Kaufman, George Lucas, and Steven Spielberg (uncredited) is not designed to be an intellectual exercise or deep character study. Primarily the film is meant to be pure fun, and Spielberg uses his masterful film technique to return to the films of his adolescence. True to the serial format, Indiana escapes one danger only to land in another throughout the course of the story. Facing impossible odds, Indy just straps on his whip and keeps his hat on and relentlessly pursues the Ark, but he never loses his dry sense of humor. He finds a hilarious solution to combat the giant black robed bad-assed Egyptian and later tells us that "I'm making it up as I go" when asked how he's going to get the Ark back.

We laugh as Indy says this, but know that the good guys will eventually win out. The pacing at times seems frenetic, but Spielberg knows when to give the audience a break and always prepares for coming adventures. When the mysterious Nazi peeks behind the Life magazine cover, this menacing character will re-appear. When Indy declares that he hates snakes, destiny requires him will face them again. And as soon as Indy tells Marion (Karen Allen) to eat a date, followed with a quick shot to a small monkey and a sinister looking Arab, we know that these elements will also come into play. Spielberg displays his knowledge of Hitchcockian suspense creating techniques throughout the film. They aren't subtle, but Spielberg knows his audience.

Often criticized for creating lightweight movies for with rather shallow characters that are incapable of deep relationships, Spielberg does nothing to disprove that in Raiders of the Lost Ark. But no serial ever relied on rounding out the heroic characters, nor developing romantic relationships. Spielberg knows exactly what this film is about and makes a film that simply works.

Harrison Ford’s big acting break had come through Star Wars when he took on the swaggering Han Solo role. With Indiana Jones, Ford demonstrates that he can play the ultimate action hero who is always in control when the world around him is in total chaos. Like a modern day Gary Cooper, the strong silent hero only asks "Where is it?" before pursuing the prized artifact when someone screams that the Nazis are making off with the Ark. When the Nazis take off in a submarine with the Ark, we know that Indy will find a way to retrieve the archaeological treasure.

Spielberg supplies Indy with a love interest with Marian, but her first scene as a competitive hard drinking independent woman demonstrates that this gal can handle herself. Sure enough, Marian serves well as Indy’s sidekick, surviving potential burns, explosions, and deadly snakes. Just when it looks like the couple may get a romantic break, Spielberg stops that mushiness by having Indy fall asleep. He knows that romance is more appropriate in another film.

Watching Raiders of the Lost Ark again on the big screen I was again reminded how summer films were once thoroughly entertaining and fulfilling. Spielberg retains respect for the audience with his impeccable technique and supplying non-stop action with enough exposition, some memorable characters, great stunt work, and good special effects for the time. If a modern audience criticizes the film for an occasional cheesy effect (like the jeep that tumbles over the cliff), they should get out the old Flash Gordon series to educate themselves about the serial art form.

Nobody is perfect and Spielberg certainly has shortcomings, but you won't find them in this film. Raiders of the Lost Ark works as perfectly as any adventure genre film and ranks as Spielberg's definitive work. Re-watching Indy's initial adventures was a refreshing reminder how fun summer movies once were and how they don't need to insult your intelligence. Spielberg even provides a reminder of the film's classic roots with a subtle ending reference to Citizen Kane to allow movie geeks to exit with a smile—after all, it's not the years that matter . . . it's the mileage!