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Quarterly Review of Film Studies Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/gqrf19 Mr. Jones goes to Washington myth and religion in raiders of the lost ark Frank P. Tomasulo a a Assistant Professor of Cinema , Ithaca College Published online: 05 Jun 2009.

To cite this article: Frank P. Tomasulo (1982) Mr. Jones goes to Washington myth and religion in raiders of the lost ark , Quarterly Review of Film Studies, 7:4, 331-340 To link to this article: http://dx.doi.org/10.1080/10509208209361132

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What gives the myth an operative value is that the quests of legend and holy writ—however, the specific pattern described is everlasting... This is made social end (as noted by Levi-Strauss) is directed clear through a comparison between myth and what toward the political sphere: the justification appears to have largely replaced it in modern societies,

Downloaded by [Frank Tomasulo] at 18:08 13 May 2014 namely, politics. and reflection of the damaged social fabric of

1 an American society at a loss for real life super- —Claude Levi-Strauss heroes in the advent of the humiliating loss of the Vietnam War, Marxist uprisings in Nicara- Myth is a people's cultural story, an attempt to gua and El Salvador, Middle East oil embargos, express in narrative a people's own self-under- the year-long Iranian hostage situation, and, of standing. In contemporary society, where those course, the Watergate experience. It is per- "everlasting patterns" may be moribund, myth haps no accident, then, that the film's principal and religion often disguise, naturalize, or reify locations are Southeast Asia, South America, certain historically specific, crassly political the Middle East . . . and Washington, D.C. ideas. Just as myth served to order the chaotic Indeed, the film's concerns with domination experience of life for our primitive forbears, so and exploitation (especially of Third World modern cultural objects like films can be seen nations and nationals, women, and technol- to function as social acts, both concealing and ogy), the appropriation of religious artifacts revealing their production of social meaning (the quest is, after all, for the Lost Ark of the and ideological rhetoric at the same time. Covenant), and the adventures of the self- Raiders of the Lost Ark (1981), for example, positing individualistic conqueror Indiana can be shown to follow the epic mode of clas- Jones put the film in the ideological position of sical myth, the oedipal trajectory of primitive spokesperson for the new Reagan administra- initiatory rites and rituals, and the religious tion's policies in the Middle East, Central and 332 QUARTERLY REVIEW OF FILM STUDIES / Fall 1982

South America, as well as the new regime's tion in the morphology of his thousand-faced positions on women's rights, laissez-faire capi- hero's adventures, the particular permutations talism, CIA covert operations, the Moral Major- used in Raiders may be accounted for in terms ity, and America's renewed stature in the of the historical specificity of 1981 America. world of nations. Like its British counterpart However, the underlying mythic grid mystifies Chariots of Fire (also 1981), Raiders of the Lost the film's ideology and its politicocultural con- Ark must harken back to a past era of national cerns: the crises of capitalism, religion, patri- greatness and achievement in the interna- archy, governmental authority, and militarism. tional arena in order to restore and dynamize a For instance, the very first diegetic image in cultural renewal in a nation beset with prob- the film is of a So,uth American jungle moun- lems foreign and domestic, political and eco- taintop, centered in the frame according to nomic. Karl Marx's principle of "conjuring up the "laws" of Renaissance perspective. This fits the spirits of the past to their service" appears rather neatly into Campbell's opening stage: to be at work in both these films; they both "a fateful region of both treasure and danger borrow earlier, more heroic images of national ... a distant land, a forest, a lofty mountaintop" life in order to "present the new scene in time- (p. 58). However, this mountaintop has actu- honored disguise."2 So, rather than reflecting ally dissolved out of the prediegetic Para- the culture it comes out of, Raiders all but mount Pictures logos in an exact match on rewrites the history of its epoch in order to form. Thus, this rather unconventional open- create what Frederic Jameson calls a new ing inscribes within the narrative the visual "national allegory."3 imprint of American corporate capitalism. The film can be shown to use its mythoreli- Paramount/Gulf & Western not only produces gious structuration to mask and efface its con- the jungle adventure to follow, it also domi- temporary ramifications. Indiana Jones, the nates the landscape. Shortly thereafter, Indi- putative hero of Raiders, follows the classical ana Jones appears on screen and eclipses our

Downloaded by [Frank Tomasulo] at 18:08 13 May 2014 narrative trajectory of the mythological hero view of the mountain, thereby taking on, as outlined by Joseph Campbell in his book through a system of visual relays, the role of The Hero with a Thousand Faces. Campbell's secondary enunciator of the corporate dis- notion of the "Monomyth" involves a tripar- course. It is therefore not only the "brave" tite journey characterized by Separation, Trials exploits (and exploitations) of Indiana Jones and Victories of Initiation, and Return and being depicted on screen; it is also the ideol- Reintegration with Society. This structure is ogy of multinational corporate power and further broken down into a total of seventeen authority. Myth itself becomes commodified, discrete narrative units.4 Raiders of the Lost through this appropriation to the ends of cor- Ark can be plotted, point by point, along the porate capital. graph of this universal schema. Besides establishing the exotic locale, this first sequence also demonstrates "The Call to A hero ventures forth from the world of common day Adventure" and "Signs of the Vocation of the into a region of supernatural wonder; fabulous forces Hero." In this case, however, our hero's goal is are there encountered and a decisive victory is won; not some beneficial, transhistorical mission the hero comes back from this mysterious adventure with the power to bestow boons on his fellow human such as bringing fire to mankind; rather, it is beings. (Campbell, p. 30) the outright robbery of native cultural and religious artifacts and treasures. This class theft Although Campbell may be faulted for pos- and exploitation (Jones is seen bullwhipping iting a trans-historical mythos with little varia- the South American bearers) mark a return to TOMASULO / Myth and Religion in Raiders of the Lost Ark 333

the values of gunboat diplomacy and "Mani- the "born again" believer. It is of further note fest Destiny" for a nation which had just that, far from being "mumbo-jumbo," the Ark returned the Panama Canal (amidst consider- is desired less for its spiritual significance than able national debate). for its military capability ("An army which car- Jones's encounters with the Frenchman Bel- ries the Ark before it is invincible"). The Ark loq, however, do not feature this sort of racist itself seems also to have qualities comparable exploitation; rather, sheer competition be- in many ways to modern nuclear weapons tween nation-states is reified here and natural- ("leveling mountains and laying waste to entire ized as primal. If America can't or won't regions"), and the race to obtain it between exploit native cultures, someone else will. In America and the Nazis (read "communists" in mythological terms, Belloq serves a dual role: today's climate) is, in many ways, homologous he is both the Bad Father and the Doppel- to the race for nuclear superiority championed ganger. As a bad father, his initial dialogue by the current administration. with our hero exemplifies the position of The stained glass windows of the lecture hall power (especially with regard to the Mother) inscribe a visual imprint of religiosity over the noted by Freud in thefamily romance: "Again proceedings in this scene, which is furthered we see there is nothing you can possess which I by the lesson on Hebraic lore. In addition, the cannot take away." The contest over the gold theme of paternity is introduced with refer- female fertility figure here is transferred later ence to the Absent Father, Abner Ravenwood to a power struggle over both Marion Raven- —Jones's former mentor, with whom he's had wood and the Ark. "a falling out." Ravenwood is linked to the The snake discovered in the rescue plane Nazis (another Bad Father?); yet, as Absent can be seen as a mere foreshadowing device— Doppelg'anger too, both Indiana and Raven- to acquaint us with Indiana's fear of reptiles— wood seek the same goal: the phallic staff of but, on another level, the incident draws us Ra, which points the way to God's Word. Thus,

Downloaded by [Frank Tomasulo] at 18:08 13 May 2014 into a whole series of imbricated allusions to not only paternity, but patriarchy as well, is serpents in mythology and religion which intimately connected with the quest for domi- further the patriarchal-oedipal thrust of the nation, God, and the girl. Indiana realizes that narrative. The published screenplay notes that he must supplant the Bad Father. Indeed, it is Jones "screams like a girl and jerks his knees this insight which convinces Jones to abandon up to his chest" on seeing the snake between his college career for the thrill and glory of his legs. It is his later ability to successfully adventuresome exploits in the Middle East. confront the serpents which marks the touch- He'll be able to "be all that he can be" with the stone of his newly acquired manhood (defined, Army. The effect of this decision on the film's in the film's terms, by possession of the girl-and target audience of adolescent, draft-age males the grail). is hard to calculate, but the ideology is When United States Army Intelligence asks apparent. Jones to find the Ark, he initially "refuses the In Nepal, the introduction of the primary call," thus fulfilling the second phase of the female character, Marion Ravenwood, estab- Monomyth. His reasoning is significant: "1 lishes her as a pants-wearing, hard-drinking don't believe in magic, a lot of superstitious entrepreneur who is able to compete with hocus-pocus . . ." This initial denial of the men at their own games: drinking, gambling, power of God's icons contrasts with his later and fighting. Once Indiana Jones enters the acceptance of the Ark's authority, thus putting scene, however, the narrative thrust of the Jones in the contemporary religious context of story shifts to getting her out of pants and 334 QUARTERLY REVIEW OF FILM STUDIES / Fall 1982

into a dress. By setting the film in the bygone the American dollar on international currency days of 1936, the broken "unity" of 1981 exchanges), should put aside thier differences America can be elided in favor of a nostalgia and join together against the common foe. It is for the collective unity of a prewar America noteworthy that the Indiana-Marion relation- unfettered by considerations of contemporary ship is reestablished as an economic reunion, feminism. rather than as a romantic one (Marion: "Until I get back my $5000 . . ..I'm your goddamned The thing to keep in mind about this film is that it is partner''). only a movie. Raiders is not a statement of its times. As Indiana Jones reaches the next stage of —Steven Spielberg5 his monomythical journey, his travels are charted on a map: India, Iran, Iraq, Baghdad, The confrontation with Marion serves to Jordan, Palestine, and finally, Cairo. This phase establish her drinking abilities (another re- marks "The Crossing of the First Threshold" peated plot device), but it also fulfills the and, appropriately, the hero is given a warning mythological plot function of "The Supernatu- (fromSallah, his Egyptian friend): "The Ark... ral Aid"; in this case, the prized medallion is is something that man was not meant to dis- obtained (Figure 1). Yet, although film director turb. Death has always surrounded it. It is not Spielberg denies any sociohistorical relevance of this earth." In contemporary terms, the to Raiders, it is worth noting that the emblem warm, smiling, and gregarious Sallah, who is embossed on the medallion exactly duplicates friendly and cooperative to American interests the Great Seal of the United States: the pyramid in the Middle East, can be construed as a figure capped by a light-radiating eye. This emblem closely resembling the recently assassinated is, of course, found on the back of the Ameri- Egyptian President Anwar Sadat (Figure 2). can dollar, along with the inscription Annuit Likewise, in even more striking fashion, the Coeptis (He has favored our undertaking). It hero himself—Indiana Jones—can be seen to carries an explicitly religious message (hence represent and stand in for another world fig- Downloaded by [Frank Tomasulo] at 18:08 13 May 2014 the phrase "the Almighty Dollar"). The linking ure. Just as Eisenstein's Alexander Nevsky and of God and Money through ancient symbols— Ivan the Terrible have been seen as paeans to in the film as well as in real-life finance—has the rule of Josef Stalin, so Spielberg's Raiders certain ideological ramifications. God is on of the Lost Ark can likewise be seen as a dis- our side not only in terms of the American guised tribute to a ruler who represents cer- national project ("our undertaking"), but also tain real, tangible social myths and religious in terms of our economic and financial system: ideals. This other actor-adventurer, coinciden- capitalism. The fact that, in the film, a symbol tally, was seen wearing the exact same cos- used on American currency functions to lead tume as Harrison Ford (leather jacket, brimmed the way to God reveals the hidden ideological felt hat, three days' growth) in a 1952 anti- agenda of Raider's discourse. communist potboiler, Hong Kong (also a Para- During this same scene, the two Americans mount release). This was none other than the vanquish their Southeast Asian and German current president of the United States, Ronald attackers and become partners in the process, Reagan (Figure 3). forsaking their long-standing personal feud. In the streets of Cairo, Marion (who had Again, the contemporary ideology is appar- seemed so self-sufficient in Nepal) gradually ent: Americans, threatened by theThird World changes roles to that of a lady-in-distress and a re-industrialized Western Europe (the (Maid Marion?). Indeed, she is reduced to Deutschemark's increasing importance over beating off an attacker with a frying pan during TOMASULO / Myth and Religion in Raiders of the Lost Ark 335

one scuffle, whereas before she had killed and I are very much alike ... I am a shadowy men with guns. Marion's physical jeopardy is reflection of you." As the Bad Father, it is treated throughout this scene in comic fashion. interesting to note that Belloq's calculations As the Arabs carry her off, she shouts, "You on the location of the Well of Souls are inaccu- can't do this to me! I'm an American! "Though rate because "his staff is too long." The comic in intent, this line of dialogue speaks to Freudian overtones are unmistakable here. the spoken (and often unspoken) feelings of As Indiana Jones reaches the "Belly of the many Americans (especially those who sup- Whale" step in the Tanis dig, he forsakes Mar- ported Reagan) that Middle East interests ion's rescue in order to pursue the Ark. Al- (Iran, Libya, PLO, OPEC, etc.) have been cart- though she tempts him with their first diegetic ing away our possessions and holding America kiss, he is more concerned with finding the hostage. Ark than he is with love and sexuality, so he Just before this incident, Jones had watched leaves her tied up in Belloq's tent. These are a threatening display of swordsmanship by an the same priorities enunciated by the Moral Arab with an immense scimitar, before calmly Majority and the New Right: God and Country and nonchalantly shooting the man dead. On take precedence over women's "liberation." the mythological plane, this might be seen as a During the wine-drinking seduction episode phallic duel won by the initiate as part of his which follows, Marion attempts to use her rites of passage into adulthood; on the con- "feminine wiles" to escape from Belloq's temporary political level, however, this scene grasp—a far cry from the woman established in reenacts in symbolic form the anti-Arab sen- Nepal. The rhetoric here is just as blatant as timents of a large portion of the American elsewhere: when the chips are down, women public. Although America's superior technol- should rely on their sexuality (if they can't rely ogy and firepower did not win the day during on a man). During this scene, even the editing the Iranian situation (indeed, the rescue mis- strategies manifest the ideology of the reli- sion was a military and technological fiasco), gious right. During the attempted seduction of Downloaded by [Frank Tomasulo] at 18:08 13 May 2014 America can win the day in the movies. Cer- Marion by Belloq, Spielberg frequently cuts tainly, audiences laugh at this incident because away from the sexual advances in the tent to of inherent comic structures—the contrast the religious mission of Jones in the cavern. between the Arab's elaborate gesticulations This is, of course, traditional Hollywood "cold and the matter-of-fact efficiency of Jones's shower" editing in the custom of Cecil B. draw, the parody of Western iconography, DeMille et al., which »allows the movie to etc.—but also at stake appears to be a nervous garner a PG rating, but it also functions to recognition of a wished-for state of affairs in check and chastise any erotic impulses aroused the real world. If an Arab had calmly shot Jones in its audience with recurring injections of while Jones was elaborately brandishing his religion. whip, for instance, the race reversal would When Indy is trapped by the Nazis in the mitigate against American laughter. womblike interior of the Well of Souls (analo- After Marion's apparent death in the ex- gous to Campbell's "Belly of the Whale"), Bel- ploding truck, Indy confronts his nemesis and loq repeats his earlier boast about their com- Doppelganger, Belloq, in a Cairo cafe. The petition: "So, once again, Jones, what was French dupe of the Nazis (a figure analogous, briefly yours is now mine." Here, the refer- in contemporary world politics, to Francois ence is explicitly to Marion, who has been Mitterand, socialist leader of France) explicitly treated as a possession throughout the film. states his "double" relationship to Jones: "You In the "Road of Trials" segment, many of the 336 QUARTERLY REVIEW OF FILM STUDIES / Fall 1982

tests of our hero's mettle literally occur on the opportunity to do so by Belloq. All he had roads as Indiana tries to commandeer the apparently wanted was Marion ("All I want is truck bearing the Ark. Jones's trials—pulling the girl"), but this would have meant, in himself under the truck, tagging along on a psychomythological terms, a preference for lengthy submarine voyage, riding on an Ara- the mother and the breast over the father and bian stallion—invoke many images of Holly- the phallus. The transfer of affections from wood's Golden Age: Stagecoach, The Sheik, mother to father is a central point of all "rites etc. In addition, other "intertextual allusions" of passage" cycles, from infantile dependence to The Ten Commandments, The Exorcist, on the mother's breast to grown-up respon- Casablanca, Citizen Kane, and the action serials sibility epitomized by the father's phallus. In serve not in the interests of deconstructive Raiders, with the absence or death of one critique of film genres, but rather provide that human father (Ravenwood) and the inade- sense of the familiar and commonplace so quate representation of another (Belloq), the necessary for reactionary popular culture. Like- supreme patriarch—God—is invoked. wise, Jones's "self-reflexive" remark about his Jones's reconciliation to the phallus is sym- plans—"I'm making this up as I go along"— bolized by his being tied to the lamp pole. Just tries to inculcate and foster a sense of shared as Christ was nailed to the cross and Odysseus participation and spontaneity in what is basi- lashed to the mast, so our cinematic hero is cally an assembly-line production. linked and bound to the symbolic phallus. Aboard the tramp steamer, Indiana and Interestingly enough, Marion is also lashed to Marion act out the "Meeting with the God- the pole, so the Tree of Life becomes also, in dess" phase. According to Campbell, this repre- this permutation, the Family Tree as well. The sents the bliss of infancy regained. Appro- couple is thus constituted in the presence of priately, Jones falls asleep during the kissing of God and, with the very next cut, with the bless- his wounds. The waiting bride who applies ing of the State as well. The entire "Return"

Downloaded by [Frank Tomasulo] at 18:08 13 May 2014 healing balm to the hero's wounds is a familiar portion of the classical pattern is compressed figure in myth and legend, and the "mystical into a few minutes of screen time. Indeed, the marriage" of our hero and heroine turns Mar- shock cut from the couple tied to the pole to ion into another familiar figure, the Lady of the the establishing shot of Washington, D.C., House of Sleep. This next step is the final test of marks the "Magic Flight" and "Rescue from the hero's ability to win the boon of love (in Without" stages, in addition to the more the film, a secondary boon to that of the Ark). obvious "Crossing of the Great Threshold" Unfortunately, just as Indy's rites of passage (Figures 4 and 5). appear to be completed, he is forced to return Despite its quickness, the hard cut from one both the Ark and Marion to the Germans. The phallic icon (the lamp pole) to another (the "Woman as Temptress" stage before atone- Washington Monument in the nation's capi- ment and apotheosis occurs during the afore- tal) serves to posit Jones as a world-historical mentioned kissing scene. individual who rescues and returns the boon, One of the major steps in Campbell's struc- the holy grail, God's Word, to its rightful ture is significantly altered in Raiders of the home: America. He is thus allied on the alle- Lost Ark. The "Atonement with the Father" gorical level with untold mythic and religious here takes place on a more subtle level—that heroes, but also, more importantly, with Ameri- of indy's spiritual rebirth into the fold of God. can political figures like George Washington On the deserted island, Jones refuses to ("Father of his Country") and the newly in- bazooka the Ark into extinction when given stalled chief executive, Ronald Reagan, who TOMASULO / Myth and Religion in Raiders of the Lost Ark 337

received considerable electoral support from ian response mechanisms built into a film's the Moral Majority. form. We can see that a film like Raiders of the Joseph Campbell has noted that the return Lost Ark affirms the existing norms of cine- of the hero to the world of common day con- matic intelligibility and therefore that its repe- tains a certain baffling inconsistency between titions reinforce recognition, a process which the wisdom brought back from the spiritual is desublimating and destructive to the imagina- world and the reality principles needed to tive processes on which art traditionally relies. function in the day-to-day world. As Campbell Raiders aspires to the political status of Muzak, points out, "good people are at a loss to com- yet it provides, in so doing, the background prehend" (p. 216). Thus, Jones says of the hum for corporate power. Through what Adorno government bureaucrats: "They don't know and Horkheimer called "the predominance of what they've got there." The bureaucrats store the effect," thrill-a-minute films like this turn the Ark in an anonymous warehouse, where it everything—love, war, religion, myth, exploita- will no doubt be ready for the anticipated tion, and death—into disposable spectacle. Raiders sequel. Nonetheless, the cut between Frederic Jameson's recent chapter title is appro- the two worlds makes the point that God's priate to this sort of spectacle: "The Epic as Word is in Washington, D.C., that it is linked to Cliche, the Cliche as Epic."7 male domination and phallic power, and that Furthermore, by relying on a structure bor- the political bureaucrats have taken it out of rowed from our mythological past, a transhis- American life and put it in cold storage. This is torical ideology is put into place which masks precisely the 1980 campaign rhetoric of the and denies the actual problems of an age by New Right and the Moral Majority, who saw in transporting them into a timeless unreality, the candidacy of Ronald Reagan a return to where the socially conditioned real world basic religious principles and ideals. becomes a cosmic, unconditioned one. Al- It is interesting to note that while earlier though it has always been the function of myth bourgeois classes rejected religion as a moral and religion to supply the symbols and icons Downloaded by [Frank Tomasulo] at 18:08 13 May 2014 fetter to the cutthroat competition necessary which carry the human spirit forward, films for the accumulation of capital, in the Reagan like Raiders of the Lost Ark attempt the reverse; era the ideology of the dominant classes has they enhance and cement the status quo. taken on a religious form in order to stem the legitimation crisis endemic to the current social order. Nietzsche's Zarathustra pro- Frank P. Tomasulo is Assistant Professor of claimed the death of all the gods; Raiders of Cinema at Ithaca College. He wishes to thank the Lost Ark proclaims their rebirth. God is his colleague Patricia Zimmermann and his alive and well, the film seems to be saying; He student Smith Ragsdale for their suggestions divides his time between living in Washington and encouragement on this article. ... and Hollywood. In conclusion, Georg Lukacs (not George Lucas) should be quoted: "Every work, through This article was presented at the 1982 Confer- the style of its language, its groupings of ence of the Society for Cinema Studies on July images and ideas, feelings and moods, evokes 2,1982. events and thoughts capable of mobilizing us for or against something."6 Contemporary film theory and criticism now allow us to see behind the instant gratifications and Skinner- 338 QUARTERLY REVIEW OF FILM STUDIES / Fall 1982

NOTES 1. Claude Lévi-Strauss, "The Structural Study of Myth," Structural Anthropology, translated by Claire Jacobson and Brooke Schoepf (New York: Basic Books, 1963), p. 209. 2. Karl Marx, The Eighteenth Brumaire of Louis Bonaparte (New York: International Publishers, 1963), p. 15. 3. Frederic Jameson, Fables of Aggression: Wynd- ham Lewis, the Modernist as Fascist (Berkeley: Univer- sity of California Press, 1981), p. 87. 4. Joseph Campbell, The Hero with a Thousand Faces (Princeton, N.J.: Princeton University Press, 1968), pp. 36-37. 5. Press kit, Raiders of the Lost Ark (Paramount Pic- tures, 1982), p. 12. 6. Georg Lukács on Stalin's "Marxism and Questions of Language," quoted in Henri Arvon, Marxist Esthet- ics, translated by Helen Lane (Ithaca, N.Y.: Cornell Uni- versity Press, 1973), p. 29. 7. Jameson, op. cit., pp. 62-80. Downloaded by [Frank Tomasulo] at 18:08 13 May 2014 TOMASULO / Myth and Religion in Raiders of the Lost Ark 339

Figure 1 Figure 4 Downloaded by [Frank Tomasulo] at 18:08 13 May 2014

Figure 5 Figure 2 Downloaded by [Frank Tomasulo] at 18:08 13 May 2014

Figure 3

Figures 7-5, © Lucasfilm Ltd. (LFL) 1981.