While it has become something of a frustration when studios commission a sequel to a film based on the original’s success (since it plays into the perception that Hollywood lacks originality and always wants to pursue what they know as being successful), we don’t often realize the risk that can come when doing so, since it is not always guaranteed to be a success. We can simply cast our gaze over to George Lucas and Steven Spielberg’s Indiana Jones series, which started with the immensely popular Raiders of the Lost Ark, which was a resounding success, specifically in how it combined classic swashbuckling adventure with a more contemporary, cutting-edge approach to the storytelling process. It seemed logical that a sequel was always intended – the vast amount of work put into developing the titular character was clearly not done with an isolated film in mind, and the level of world-building is similarly quite clear in establishing just how integral the idea of creating a series based around Indiana Jones was, and how both creative minds were hard at work to develop his next adventure, taking him in new directions while still maintaining the level of consistency required to create something that achieves the same kind of popularity. As a result, we received Indiana Jones and the Temple of Doom, which was initially received with ambivalence at best, and protestations of its lower quality at worst. However, it has undergone re-analysis, and is widely considered now to be a worthy sequel to one of the greatest adventure films of its era, which is certainly an immense responsibility, but one that has been widely embraced as being quite true, especially in comparison to the many poor quality sequels that some of the finest films of their era receive. Funny, exhilarating and frequently daring in a way that only two of the most ambitious genre filmmakers working at the time may have been able to achieve, Indiana Jones and the Temple of Doom is a tremendous film, and a perfect continuation of an immediately iconic character, who continues to be consolidated as one of the most original in film history.

There are two methods a sequel needs to employ in order to be successful – either, it needs to be so similar to the first that it feels like both films are continuous and in dialogue with each other, or it needs to be starkly different, going in its own direction so that it is viewed as an individual work that simply follows a previous work, adding to a broader mythology relating to the titular character. The mistake we make as viewers is believing that these two qualities are entirely separate, and they by virtue of their contradictory nature, they can never overlap, or a film can’t ever employ both without becoming unwieldy or convoluted. Indiana Jones and the Temple of Doom is a perfect example of both elements in practice, which are not as incompatible as they may appear, granted they are handled by someone with experience and a strong vision, not only in terms of envisioning where these characters are meant to go, but also in developing the film on a visual level, which can sometimes be the difference between success and failure. Moving the plot from Egypt to Asia (specifically India, with Shanghai being the focus for the thrilling introductory sequence before venture southwards), the film is given an entirely new set of ideas with which to work, and as someone who tends to assimilate as much cultural complexity and diversity into his stories as possible, Lucas had some good ideas on what material to use, working closely with Spielberg to craft a film that honoured the legacy of its character and the cultures with whom he has contact throughout his various adventures over the years. As a result, Indiana Jones and the Temple of Doom follows a slightly similar structure, but only at the fundamental level, using a formula that is known to work, and then deviating in nearly every other way – the setting has changed, the dynamic between the characters is very different and the overall direction in which the film voyages becomes a major source of inspiration, since it is all quite compelling and proves that no one was resting on their laurels while making this film.

In terms of characters, there are a few differences in how Indiana Jones and the Temple of Doom make use of its cast. Harrison Ford obviously returns, and is as charismatic and daring as ever. The brilliance of the Indiana Jones character was that he was cast with an actor who has an abundance of charm and could convincingly play both sides of the role (namely the adventurous a cerebral), but that he also had enough talent to develop him beyond being a one-dimensional protagonist. There isn’t much difference between the character in terms of the transition between the two films – he is still the wise-cracking hero who has a knack for getting himself out of danger at the last moment – but there is still something so compelling about how Ford develops the small details of the character. This is also aided by the presence of the other characters – choosing to almost entirely elide the supporting cast from the first film forces new dynamics to form, and the absence of the valiant Marion Lockwood and the introduction of the volatile Willie Scott allowed the same romantic undercurrents to exist, but which are replaced with a different kind of interaction. The film also features the arrival of Short Round, who started as a mere sidekick, but ultimately steals every scene he is in, which is quite an achievement considering the challenges that must come when acting across from as formidable an actor as Ford, who very rarely loses our focus. Credit must be given to Ke Huy Quan and Kate Capshaw, who are fantastic in the film, developing strong chemistry with Ford and helping set the foundation for a pair of characters that may not appear again (at least not in the official capacity – and it is well-documented that there were efforts to bring them back in later films), but yet make such a distinct impact here. The performances as a whole are impressive while never being redefining of the craft, which is relatively consistent with the ideas normally associated with the genre and how characters tend to be constructed in these films.

Tonally, Indiana Jones and the Temple of Doom is quite different from Raiders of the Lost Ark (to the point where the third film in the series, which went into production a few years later, decided to rework itself to be more aligned with the first film due to the divisive reaction received by this film originally), and we find our beloved Indiana Jones in more peril than usual. The majority of the film takes place in the titular Temple of Doom (as opposed to the more expansive view of the world seen in the previous film), and as a result this is a much darker and more unsettling film – but the entire purpose of the film was to be slightly more bleak, since having a more lighthearted tone would have removed the sense of danger that was so important to the overall narrative. This is a genuinely terrifying film, and Spielberg (in his capacity as the person who shepherded the ideas spearheaded by Lucas to the screen) seems to be working from the residual terror that he employed in Jaws, with the sense of foreboding danger and deeply disturbing imagery being quite unsettling, but in a way that is still unquestionably entertaining. The knowledge that Indiana Jones will always make it out of even the most perilous of situations (which doesn’t ever require knowing how the film ends – it’s just common sense) makes it enthralling and never puts the suspense at an unwieldy level. However, this doesn’t prevent the film from still going in unexpected directions and having many surprises embedded within it – this is not necessarily the most predictable of stories, and there is a genuine sense of suspense and despair that pulsates throughout it, which makes the stakes extremely high and creates such a distinctly offbeat but still wildly entertaining tone. The visual prowess itself is incredible – whether in terms of the design of the titular temple, or the way cinematographer Douglas Slocombe shoots it, there is something so genuinely striking about how the film looks, as well as sounds (John Williams creates yet another unforgettable score), proving that in every moment, there is something deeply captivating about this film and what it represents, artistically and narratively.

As a whole, we find that Indiana Jones and the Temple of Doom is just as entertaining and engaging as not only the previous film in the series, but also in comparison to the classic adventure films that were its inspiration. Part of the pleasure of this film is seeing just how much Spielberg and Lucas hold a level of respect for the genre as a whole – they take inspiration from many previous works, but never feel as if they are in any way entitled to overtake them or redefine the genre, instead choosing to convey the genuine sense of reverence and joy for the narrative that is normally associated with these kinds of films, while still employing some of their own unique commentary to the proceedings. As a result, we have an incredibly original and unquestionably enjoyable adventure film that blends thrill and humour, immersing us in a captivating story of an instantly iconic hero as he goes in search of the broader world, undergoing yet another adventure that takes him to the furthest corners of the globe and once again finds him in perilous situations, from which he always manages to escape, through whatever means necessary. There is a reason why this series has been seen as the pinnacle of adventure filmmaking – the fresh and invigorating style combined with the reliable, consistent genre tropes make an easygoing effortlessly exciting piece of entertainment that never takes itself too seriously, and delivers its story with a remarkable sense of honesty and complexity, both of which are vitally important elements that help set the foundation for a continuation into the legacy of a true hero, and someone whose adventures are already indelible in the history of cinema.