By Le Figaro with AFP
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Phoebe Waller-Bridge and Harrison Ford in Indiana Jones: The Dial of Destiny. Screened out of competition at the Cannes Film Festival, the film directed by James Mangold will be released in theaters on June 28. Lucasfilm Ltd. & TM
After signing Logan And Le Mans 66, the filmmaker takes over from Steven Spielberg for the fifth part of the adventures of the archaeologist treasure hunter. A return to an old-fashioned cinema, he ures.
No longer a deluge of lasers and costumed heroes, but a good old whip, a hat and stunts. After the triumph of superhero films, action cinema “old” has something “invigorating”according James Mangold ofIndiana Jones: The Dial of Destiny , unveiled Thursday at the Cannes Film Festival. For this film, the last of the saga started by Steven Spielbergthe desired director to keep “a combination of love for clic golden age cinema and action scenes that are not only physical, but also comedic and inventive, much like Buster Keatonbut powered by diesel».
“I like this style and I think people welcome it. Maybe it’s not fashionable, but I think it has something refreshing for people.”added James Mangold, 59, in an interview with AFP. “We are in a moment when films are hyperactive. Everything has to be so fast that it doesn’t even give the characters or the story time to breathe. I don’t want to be presumptuous, but I exist. Steven Spielberg too, as well as other directors who have a more clic style“.
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Author of Logan Or Le Mans 66 James Mangold is the first director other than Steven Spielberg to have been entrusted with a film in the saga. “It was like putting on a really big suit,” he remembers. For this fifth installment, the filmmaker offered himself a twenty-minute tribute to the adventure cinema of yesteryear, with a Harrison Ford digitally rejuvenated, storming a Nazi train to the famous musical theme of John Williams.
Eternal youth
Indiana Jones: The Dial of Destiny is part of a growing line of Hollywood blockbusters that have succumbed to the charms of digital rejuvenation, notably after the makeover of Robert de Niro In The Irishman or that of Johnny Depp in the last Pirates of the Caribbean . “It takes a lot of money to make these digital effects, emphasizes James Mangold. I’m not sure that’s relevant in most movies, where you can do a lot with makeup or lighting“.
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“Any technological innovation in storytelling, filmmaking, special effects, comes with dangers and a risk of being overused as can be with 3D for example”he still qualifies. I don’t want us to have to think about technology, I don’t want to think about it. For me, the joy of this opening sequence is not the technology but the fact that it fades“.
As for the rest of the film, when Indiana Jones returns to service at the age he should retire, “you have to be honest with the public”. No question on the script side of pretending that the actor was still as dashing as a young man. “Even if it’s entertainment, something comical, (…) you shouldn’t lie to the public. It would produce something fake, like any failed visual effect or bad scene. That would ring false.”. The director summarizes:“We told an honest story that takes on the issue of aging, regrets, the choices you made and the choices you didn’t make, what it’s like to be a hero at a time when you are no longer celebrated”. A theme that the director had already explored with Logan, in 2017.