Smith – Cristal Skull EC Blog

Relationship Are More Important! 

In my opinion, The Kingdom of The Cristal Skull did not come close to honoring the remarkable Indiana Jones Trilogy. It had its moments because of the new actor Shia Labeouf staring as Indiana’s son, however, there was less character development, and the concept of the Cristal Skull was much harder to fathom. Harrison Ford is older in this sequel, yet to his defense he is still able to impress his successor Mutt Williams who asks, “You’re a teacher?” and Indiana responds, “Part time.” The first scene that shows Indiana’s abilities is in the graveyard. It shows that his thirst for adventure and danger is still apparent even when older. I find that when trying to teach his son how to handle his anger and attitude towards life he turned in to the professor and was able to give good advice. He complete disregards this advice when he realizes that he is his son. This shed a new light on the father and how they have different opinions when the relationship changes.

We do get some character development that was explained by Jeffery Boam when he stated, “I could bring an added dimension to the Indy character and basically get inside him and let the audience find out how Indiana Jones becomes Indiana Jones… By the time it is over, Indiana Jones won’t have many secrets left” (Pfeiffer 176). The main theme that was passed on in this film is the atonement with the father. At first the relationship between Indiana Jones and his son is one of friendship because of the lack of knowledge on Indiana Jones’s part. This film flips the father son relationship; Indiana has turned into a version of his father after The Last Crusade.

While watching this movie I was astounded at the advancement in technology and effects. The concept of the movie was so scientific and also alien in a way. When trying to understand what the prize was, it was difficult. In the past three movies, Indiana has gone after an object. Yes, the skull is an object, however, the true artifact is the knowledge wanted. These crystal skull beings have infinite knowledge. The Indiana movies have progressively gotten more and more spiritual. This quest was more about people for Indiana then anything else. Indiana was able to find Marion Ravenwood and helps to save his friend Professor Oxley. This quest was fulfilled when he was able to get out of the crumbling fortress of the Crystal Skulls. Watching the (with lack of a better word) flying saucer rise up from the crumbling mess, Indiana is not fazed at all. All he was searching for was a relationship with his son and Marion. He has finally made it to the indentured knight phase. 

Miller: Parody of Indiana

Michael D. Miller

The Kingdom of the Crystal Skull

Parody of Indiana

Indiana Jones and the Kingdom of the Crystal Skulls includes a number of parodies of not only Indiana Jones films, but one other that jumps out off the screen that must be mentioned. The scene when Henry “Mutt” Williams, Jones III is riding along the train platform to find Indiana. Mutt is dressed in the same costume as Marlon Brando in the movie the Wild Ones. The motorcycle, the leather jacket, the way he wears his cap tilted to the side and how he plays with his switchblade, all are Brando-esque.

            The first parody observed was of course the scene when Indiana escapes from the Russians out of “Warehouse 51” and crashes through a number of crates. The camera pans closer to one of the damages crates to reveal the Ark of the Covenant. The first treasure that Indiana recovered during the Raiders of the Lost Ark that was later taken from him and locked away in a government warehouse.

            One parody that stood out in the “final” Indiana Jones film was the scene where Mutt and Indy are being chased by the Russians through the campus of Marshall University. Mutt leads the chase through the quad where there are a number of students protesting against the Russians, “I’d rather be dead than RED!” As the banner falls across the windshield of the pursuing Russian KGB agents, they crash into a statue of Brody. The head of Marcus Brody comes crashing through the windshield and lands in the KGB agents lap. This is obviously a remembrance of Marcus Brody (Denholm Elliott) who appeared in all three previous Indiana Jones films and who was a trusted friend and confidant of Indiana. Mr. Elliott had passed away a few years after the Last Crusade. Indiana also remembers Marcus earlier in the film when he is at his home with the Dean Stanforth (Jim Broadbent) and makes reference to the passing of both Marcus and his father.  

            Another parody that garnered much attention was the ending of the chase scene with Mutt and Indiana crashing into a student in the library. The student poses a question to Dr. Jones about his research and Indiana replies that if the student wants to learn more about archeology he has to get out of the library. This directly contradicts his previous advice to a student in the Last Crusade when he tells the student that seventy percent of all archeology is done in the library. Research and reading. This shows how the adventurous side of Indiana overcomes the Professor side of him. He knows that through his experiences he has learned so much more by exploring the ancient ruins himself as opposed to reading about the same places in books taken from mythology or possibly another person’s experience.

            Throughout the Kingdom of the Crystal Skulls film, the antagonist Irina Spalko, is taking Indiana’s found treasure away from him. Just as in the first film, Raider, when Belloq takes the idol and then the Ark. Much in the same way in Temple of Doom, when the Thuggie Cult members take the magical stones away from Indiana. And finally, in the last Crusade when the Nazis take the Grail book away from Indiana. However, in the end Indiana manages to escape with a new level of awareness and consciousness. Such as in this film, Indiana did not believe is supernatural beings from another world and it was not until he entered the alien room and seeing the interdimensional craft depart from the Mayan ruins did he truly believe and of course he gains a son and a wife in this final film.    

Wlos: Crystal Skull

          Indiana Jones and the Kingdom of the Crystal Skull offers a fresh look at the iconic American film hero, Indiana Jones.  The film features him in a new light as his characteristics are now much more reminiscent of those of his father in The Last Crusade.  Likewise, a new character, Indiana Jones's Son, Henry "Mutt" Williams Jones III, is introduced, and he displays many traits of the younger Indiana Jones.  This is easily observed 79 minutes into the film when Henry is seen battling on top of cars in the same manner in which Indiana Jones battled on top of a tank in The Last Crusade, while Indiana Jones is seen filling a role similar to that of his father during the The Last Crusade's tank scene.  This comes to show us that fathers and sons can be very similar, but sometimes that is only seen when they are thrown into similar circumstances.  The way the Jones men react to situations that are essentially constructed to be similar is a great example of this.  

The circumstantial happening of this particular seen illustrate Henry Jones as a gleaming image of his father.  There are plenteous references to his father's previous experiences during this scene.  One such instance is when he is thrown off of the car and into a tree that is occupied by a large number of monkeys.  This is actually reminiscent not of the battle tank scene, but of the seen in The Last Crusade that features Indiana Jones battling men onboard a moving train, and constantly falling into cars occupied by animals.  

This scene is similar to the battle tank scene as it features a young, cunning man fighting a military professional with hand to hand combat while standing on top of a moving military vehicle.  The position that Henry finds himself in is rather similar to Indiana Jones, he is constantly knocked around, almost off of the vehicle, but is able to barely hold himself on.  Another thing to look at is the fact that he's a young man getting beat up, but he refuses to give up and just keeps going.  He's an echo of his father.

Likewise, while this is going on, Indiana Jones takes a stance that is similar to the position his father took during the battle tank scene.  He remains in the vehicle, like his father, and battles for control of it. And at the end of the sequence, Indiana shares a little celebratory moment with his son, each saying "Woah,"  treating his son very similar to the way his father treated him in Last Crusade.

Overall, this film shows the ways in which we resemble our parents.  I believe the reason why The Jones men resemble each other so much is because they are naturally similar, being fathers and sons, and they find themselves in similar situations and thereby react in parallel ways.  It makes me think of what I'd be like if I followed my father's footsteps.  Or what he'd be like if he folioed mine, for that matter.

Andrew Wlos

Jordan-Crystal Skull

The 4th installment of the Indiana Jones film series, Indiana Jones and the Kingdom of the Crystal Skull is a film that I see as a parody  of the previous 3 films. The film seems as if all other ideas where exhausted and the film felt like a rehashing of old material.

 The film was certainly not perfect, but unlike most I did not think the problems were in the silly set ups and 'get out of jail free' solutions to perilous situations. If this film has a serious problem it was probably the story. It's just plain hard to keep track of most of the time. There is a tremendous amount of exposition (probably more than in any other Indy film), and if you aren't paying attention – and I mean like there's gonna be a quiz on this at the end – it's really easy to get lost. Particularly when it comes to a crucial plot point about someone taking the skull, bringing it somewhere, failing to unlock a puzzle, and taking it right back again.

Another interesting fact about this film, in fact what may have been too big a hurtle in the eyes of some, is that the 'deal breaker' scene comes very early in the film, and to protect those who have not yet seen the film, this deal breaker comes in the form of a refrigerator. As soon as this scene was over I said to my self "this is the point of no return. If the audience cannot accept this, they won't be able to accept anything else in the film". I did accept it, and once I sat back and said "whatever" (Indiana Jones films typically require extra suspension of disbelief) I had a great time at the movies. The Indiana Jones franchise has never been about the stories; not really. Indiana Jones has always been about having as much fun as you can in a movie, and I have to say this movie was a lot of fun.

O'Connell: Indiana Jones and the Kingdom of the Crystal Skull

Indiana Jones and the Kingdom of the Crystal Skull is a notorious film for tacking one more attempt at greatness on to the already complete series, but to say one thing in its favor, it is definitely a work born of passion for the earlier films, especially Raiders of the Lost Ark. Packed with reference after homage after fedora tip, the film is a love letter to the earlier trilogy with countless tributes to the other films.



The scene taking place at Jones’ residence wherein Indiana has just learned of his “indefinite leave of absence” is especially packed with references. Structurally, it is the same as the scene in Raiders of the Lost Ark in which Dr. Marcus Brody shows up to tell Indy of the new mission and share a celebratory drink, however the drink he shares with Dean Charles Stanforth is a mournful one as the two men are both out of work. This time, Indy is not packing with eager anticipation, but with disheartened acceptance. Note how instead of first grabbing his trademark jacket and coiled leather whip, he first packs neatly folded shirts, underwear, socks, and a coiled leather belt, a sad image of the adventureless life that awaits him.

Similar to Indiana’s disillusionment with the government in the end of Raiders, there is a continued animosity towards the government in this film and this scene, as Charles states “I barely recognize this country anymore, the government’s got us seeing communists in our soup. When the hysteria reaches academia I guess it’s time to call it a career.” (Spielberg, Crystal Skull) After his run in with the government agents at the beginning of the film, Indy is no more thrilled with them than he was in ‘36. When the agents come to the university to search Indiana’s office, Charlie must to allow them, but is forced to resign as he defends Jones. During their conversation, Indy apologizes for having doubted Charlie’s loyalty, who then responds “no, you have reason to question your friends these days”, referencing both the betrayal of Mac in this film, and on a larger scale the constant betrayals of Jones’ many companions over the years.

This scene looks back in many ways, as Indiana is struggling with his own mortality. We learn that in the recent past, both Marcus Brody and Henry Jones, Sr. have passed away, leaving Indy with few companions, and he looks through an old journal that quickly flashes upon a picture of a youthful Indiana who has also gone the way of all things. Indiana has little to look forward to at this point, and instead both Indy and the audience are nostalgically remembering the glory of the past.

Sanderson - Kingdom of the Crystal Skull

        The interesting things about Indiana Jones and the Kingdom of the Crystal Skull are that it is a well-done parody. The parodies that I have become accustom to have been done with the actors of the films that they are making fun of and they surely aren’t done with the director either. I find that it gives this movie credit that other films like this don’t get. It defiantly makes it funnier just because we get to watch a Indiana Jones film with the Harrison Ford instead of some C list actor trying to portray him in a corny manner. Its always more funny when someone is making fun of themselves as opposed to someone else making sense of them. 

The scene that I picked is the scene when with the atomic explosion. What I found to be the parody is that just like all the other Indiana Jones films, Indy finds some crazy way to avoid an inevitable death. Indy finds himself in an abandon nuclear test town. He is surrounded by dummy’s set up in this town. I found this to be a connection because usually Indy is constantly surrounded by people that he has to save and you could call these people dummy’s as well. Anyway, Indy left by the only live people in the town and he has to find somewhere to hid from the explosion. He hides in a lead lined refrigerator in one of the houses. The bomb goes off and blows Indy and the fridge hundreds of yards through the air. When Indy lands he rolls out of the fridge. Of course he is unharmed and his hat is still on his head and he still has his whip. No matter what ever happens to Indy, he always has his hat and his whip. 

What makes a parody funny is the ridiculous things that can happen that don’t have to be explained. Whether it is how Indy never gets harmed or how he gets out of completely ridiculous situations, the film has the ability to cross the line because it is a parody. What makes this parody special is how well it is done. Sometimes parody’s are funny because of how poorly the action scenes are or the acting. In this film the graphics are actually really good and Harrison Ford being in the film really makes it. 

Cacique-Borja, Crystal as Bonus

Crystal as Bonus

Kingdom of the Crystal Skulls was set in 1949; eleven years after The Last Crusades, where we last see Indy establishing a healthy relationship with his father. Interestingly enough, Kingdom of the Crystal Skulls is also about remedying a son to father relationship only this time Indy is the father and his son has been unknown to him for quite a while. In this movie, we see an older Indy who is not as muscular (because the camera no longer focuses on his arms nor are his sleeves rolled up like in The Temple of Doom) or agile but definitely a wiser Indy who waits before he whips out his whip. (Interestingly enough, Indy looks about 20 plus years older.) Just as in the previous movies, the audience does not get to witness Indy’s full facial profile until it is established that he is a figure who demands attention and diligence. Indy’s legendary fedora shadowy figure puts the soldiers at arms as he is thrown into the concrete and his impossible journey through death staring obstacles begins.

The introduction of the female villain in the opening scene revives thoughts of Gretta Von Grimm from The Last Crusaders when she sparked a sexual tension between her and Dr. Jones. The new villain, Dr. Irina Spalko does not prove to be the temptress Gretta was but she does manage to be a pain the way Belloq, the “French archeologists in league with the Nazi” was (Pfeiffer 117).  As Indy is escaping from Dr. Spalko in the military warehouse he drives through a cluster of wooden boxes. In one of the crashed and opened wooden boxes resides the lost Ark where “the Ten Commandments were placed by Moses” and Indy had risked his life to rescue from the Nazi in Raiders of the Lost Ark (Pfeiffer 117). The Ark represents the belief Indy had had on authority, the USA government, to recover artifacts for the better of humanity. Indy went into the mission believing that if he found and retrieved the Ark before the Nazi did and gave it to the government he would further human knowledge. As it is seen in the last scene of Raider’s, Indy is told that the “top guys” were on the Ark when it was actually being taken into storage in a military warehouse not to be laid an eye upon by humans as Indy had hoped. The revival of the Ark, parodies the grim chapter in Indy’s life when he loses the opportunity to study the Ark only to have him literally drive through it. Ironically, Indy’s obsessions with artifacts, which lead him to the Arckat one point, once again lead him away from it. 

Murray- Crystal Skull

Once scene that is a parody of thee earlier films in the Crystal Skull is when Indy is caught in the quick sand and must grad the snake in order to pull himself out.  Throughout the films it has been brought to the viewers’ attention that Indy is terrified of snakes.  This is his one weakness.  Instead of powering through the fear he has like usual Indy is rendered practically helpless.  It is making fun of the idea that he is a fearless warrior.  Instead, he is more childlike than ever before.  In Raiders Indy is trapped in the snake pit but uses fire to fend off the snakes.  His intellect is what saves hi from his greatest fear but in this case instead of being able to deal with the situation at all Indy must simply let go of his fear.  Intellect would tell Indy that the snake grabbed would kill its pray by constriction not venom.  Therefore, he would not have any fears about grabbing the snake but he is helpless.  Logic fails Indy in this instance.  Instead of being the iconic male that we know him as Indy is a child.  The bravado is gone. It also reflects the fact that Indy must face his fear of snakes in all phases of his life.  In The Last Crusade, Indy must face the pit of snakes in his youth.  In Raiders of the Lost Ark Indy again has to face snakes as an adult.  Now in the Crystal Skull Indy is facing the same old fear only as a matured adult.

            Another aspect of the scene that is a parody is Ox going for help.  Indy almost never asks for any type of help.  He asks for favors and when sticky situations arrive he deals with them on his own.  In this case he is rendered helpless and must beg for Ox to come get help.  In return Ox brings the Russians that Indy was trying to escape from has help unknowingly.  This plays into the idea that Indy can never win.  With him everything that can go wring does.  Playing into the same sentiment is how Indy and Marion get stuck in the first place.  Indy points out that, quicksand is rather harmless unless the air pocket inside pops.  Of course as he says this the air pocket bursts putting him in danger.  This mocks the concept that the worst always happens to Indy.  Even when Indy thinks he is safe something occurs which puts him in danger.  In particular it is mocking the scene from Raiders where Indy puts the bag of sand and takes the Idol.  Instead of the plan working the bag of sand is too heavy and triggers the booby traps the moment Indy looks away.  Just like in the quicksand Indy believes he has managed to secure a situation that is not putting him in danger but in reality as soon as Indy thinks he is safe everything collapses around him.  

Lam: Indiana Jones and the Kingdom of the Crystal Skull -- A Parody

               Surprisingly, Indiana Jones and the Kingdom of the Crystal Skull had many parodies in the film that referenced back to both Indiana Jones and the Raiders of the Lost Ark and Indiana Jones and the Last Crusade. The references made to Raiders of the Lost Ark generally were related to Marion, while the references made to the Last Crusade were related to Henry Jones, Senior or the concept of the father. Among all of the references in the film, I feel the most prominent one is a mirror of a scene from the Last Crusade. During the scene when Indiana and Henry Senior escape the Nazis by motorcycle, Indiana laughs as they evade the Nazis, but Henry Senior scowls at him. This same scene is mirrored in Kingdom of the Crystal Skull when Mutt and Indiana evade the Russians on motorcycle again. Almost the exact same screenplay was used for that scene. However, it does include one major difference. This difference is the knowledge of the father figure. In Last Crusade, Indiana knew that Henry Senior was his father but chose to not to acknowledge him. Meanwhile, in Kingdom of the Crystal Skull, Indiana, at this point of the film, does not have the knowledge that he is anyone's, let alone Mutt's, father.

                This scene is a parody because it induces a mocking tone or pokes fun at a scene in a prior film and usually proves to be ironic. In this case, the situation is ironic because Henry Senior was a very serious and stout man who did not like Indiana's recklessness and his excitement and joy that came from the reckless behavior. Now, many years down the line, Indiana has aged and reached the age where "life stops giving you things and starts taking them away." After experiencing the loss of his father and Marcus Brody, Indiana finally becomes the father figure. This is partially what makes the scene so ironic. It is that Indiana has both become the father spiritually and physically with the introduction of Mutt's character. Mutt seems to be a more reckless version of young Indiana, perhaps due to the genes from both his mother Marion, a very fiery woman, and Indiana, an also very reckless man. In this scene, Mutt portrays the new reincarnated Indiana, but with even more vigor. Indiana does not exactly scowl at Mutt but instead gives him a glare. At the same time, you notice that it seems that Indiana even realizes that this was how he was when he was Mutt's age. The feeling did not seem to be one of contempt but one of reluctant acceptance that kids will be kids. Indiana takes this position until he learns that Mutt is actually his son. This parody almost seems as if the Indiana Jones franchise has run out of ideas with only the development of a son figure as the last chapter to Indiana Jones's life (Pfeiffer 176).

Gaspari Crystal Skull

In the newest edition of the Indiana Jones franchise we see a lot of repetition of themes that are used in the original trilogy. The film starts off with a dangerous confrontation, Indy is introduced into the film with images of his shadow and the back of his head and hat. On top of this we have totalitarian Russian villains not unlike the Nazi's of Last Crusade and Indiana is betrayed by someone he thinks is on his side.

       These are some interesting similarities, but surprisingly there are many many more. The character development follows an almost exact iconic replica of some of the scenes in movies past. Harrison Ford's character is basically just going through the steps of re-acting parts of the past movie. The scene when they take the plane to Peru, Indy does his classic move of ignoring whoever he's flying with by pulling his hat down over his face and falling asleep. We also see the recurring theme of atonement with the father utilized by Indy's staring at a picture of his father on the desk, and the introduction of Mud (Shia Lebeauf) who is in my opinion, not a good successor as a Jones. Jones unknowingly adventures with his son until he meets with mad Dr. Oxley and his past fling Mary. It is only when they are in fatal danger that he Indy is told that Mud is his son, Henry Jones III.

From this point on the movie differs vastly from the other trilogy in the past, but it is very unrealistic and ridiculous. I don't really think that it is a good representation of the Indiana Jones franchise.

Mather - Indiana Jones' Past and his development

The opening scenes of The Last Crusade (1989) are to me, some of the most important scenes in the Indiana Jones trilogy. That being said, I don't believe they offer as much as character development as other scenes in the trilogy. I view character depth differently than character development. The opening scenes most definitely add depth to Indiana Jones' (Harrison Ford) character, but they don't progress the Indiana Jones we know in the movies outside of the introductory scenes of The Last Crusade. "The scenes, which feature Indy (played by River Phoenix) as a Boy Scout trying to prevent the theft of a sacred artifact by scavengers in a deserted gold mine... Indy's battle with the thieves takes him from inside the mine, to a chase on horseback, to a cat-and-mouse game aboard a circus train with deadly animals." (Pfieffer 180) These scenes not only start off the film in an exciting way, but they introduce the origins of the iconic things that make Indiana Jones who he is. The scenes explain Indy's fear of snakes after he falls into a train car full of snakes, they explain the origin of the bull whip, which young Indy uses to fend off a circus lion, and it explains the origin of the Stetson hat, which Indiana is seen making extra effort to save throughout the movies. The "Indiana Jones" hat has been parodied ever since, and it's importance is solidified when the viewer sees how Indiana Jones becomes attached to his hat. The scene ends with Indiana being told by the guy who 'beat' Indy, that "you lost today kid, but that doesn't mean you have to like it." This quote obviously resonates with Indiana Jones' character, as every movie displays Indiana Jones' unwavering persistence. If one thing is to be said about Indiana Jones, it's that he doesn't give up. This is solidified in The Last Crusade, as the scene immediately following that quote shows Indiana on a boat, trying to recover that same artifact that he attempted to acquire in the opening scenes.

So while the opening scenes add depth to the character, they don't develop Indiana Jones as well as other scenes. That is not to discredit the importance of character depth or development. Both are absolutely integral in how the audience connects with the character. In the Temple of Doom (1984), Indiana Jones transforms from the mercenary who believes that anything goes, to the character in Raiders of the Lost Ark (1981) that serves his country in the fight against the Nazi's. One could also point to his treatment of the female characters in the trilogy for his development. In Temple of Doom, Willie Scott is the relatively useless damsel in distress that Indiana Jones seems fine with sacrificing, to the man in Raiders of the Lost Ark that loves Marion. He is clearly distressed when he believes she died in the truck explosion, and even goes as far as hesitating to kill his rival, Belloc (Paul Freeman), because the blast would endanger Marion as well. Indiana Jones would be the same character, and would develop in the same way if those opening scenes had been different. They are obviously integral to Indy's past, but as far as the audience goes, they exist to help explain Indiana's character, and not to develop him.

Tom Mather

Murray - Indy's past

The final Indiana Jones movie was a great asset to the trilogy because it did add more depth to the character of Indiana. Character depth can only ever add to a story because humans are so innately deep.  The trilogy acts as a metaphor for how we meet new people.  We meet Indy at face value in the first film and see who he is.  In the second film it as though we have become friends with Indy and are now gaining insight into who he was not long ago.  In the final film we not only have now acquainted ourselves with him but now have spent some time together and are allowed to see him how friends see each other.  Friends have grown with each other but also are privy to personal information about their past. This point was made clear when Jeffery Boam stated “I could bring an added dimension to the Indy character and basically get inside him and let the audience find out how Indiana Jones becomes Indiana Jones… By the time is over, Indiana Jones won’t have many secrets left” ( Pfeiffer 176). In With the intro to the last film we have secured a friendship with Indy not just observed his life.  In this intro there are some very personal facts that only friends would know of each other.  The scar on Indy’s chin for example was explained to the viewer by Indy accidentally whipping himself.  Often times people will discuss their old battle scars and tell stories of their past.  Likewise, Indy’s iconic dress is another subject under conversation which gets explained.  These fluffier pieces of information are juxtaposed next to some deeper conversations as well.  One of these deeper topics is why Indy mistrusts people especially those in positions of power.  Like the way we get to know our friends better it is the small nuances of the way a friend reveals themselves are often the most important.  When the young Indy states “everyone is lost but me” the viewer can now understand the now blatant correlations between the Indy we know and the events that shaped him.  Perhaps the most imperative detail we get from the opening scene is Indy’s relationship with his father.  As a friend would not push the subject the viewer does not get to push the subject of Indy’s relationship with his father.  Only for a moment does the viewer get a glimpse of it but like a long friendship the questions answer themselves with time and the current event our friend Indy must endure.  Indy is the viewer’s friend.  The viewer now has known Indy and finally gets insight into who the depth of the person we so enjoyed at face value. 

Kunzig – Attraction of the Dark Side – Week 3 blog make-up.

The way I understand it, being on the Dark side is not defined by whether or not the character has joined forces with the Empire. It is defined by the possession and use of negative feelings such as anger, hatred, jealousy, or revenge. When a Jedi uses these negative feelings to fuel his powers or abilities, he is in effect using the Dark Force, which is more powerful than the Light Force and can therefore be very tempting.
Given this definition, while Luke has in my opinion never truly considered joining the Empire, he has most definitely slipped into the Dark Side in his efforts to fight Darth Vader. This is because he did not fight Vader with a pure heart, with nothing but the good of the galaxy in mind. He also fought Darth Vader out of hatred, anger and revenge, because he believed him to have killed his father. Real "Jedi knights do not give in to feelings of vengeance" (Pfeiffer 133), but Luke most certainly has, more than once.
One of the instances in which he fought with anger was during his training with Yoda, when he fought an illusion of Darth Vader. The second is when he fought him in person in Cloud City. However, this is also when he learns that Vader is actually his father, and I think this is what saved him – he lost all desire for vengeance since the man he thought had killed his father was his father, still alive. This gave him hope. Obviously he refused Darth Vader's offer to join the Dark Side, because that kind of thing doesn't just happen – a Jedi would have to be tempted into using the Dark Force repeatedly until the line between good and evil no longer matters to him.

Lando also slipped into the Dark Side for a moment, when he betrayed his old friend Han, delivering them to Darth Vader. He did so to save his city, which Vader had threatened, but the means to that end was betrayal, which brings him into the Dark Side. However, he was never fully on the Dark Side, and at some point, probably when he saw Han frozen in a block, he realized what he had done and joined the Rebellion.
Darth Vader is the final example of a character tempted by the power of the Dark Side. Unlike the others, he was deep in it before he was saved by his son, Luke. It was Luke's unwavering belief that there was still good in him, and finally seeing Luke being tortured by the Emperor, that made something click in Vader, and brought him out of the Dark Side in the end of the third movie.

O'Connell: Last Crusade - Makeup

Taking place so far in the past, the opening scenes of Last Crusade make up for the lack of character development in the previous films, showing Indiana as not the ideal of masculine bravado we’re used to, but a young squire, exhibiting just a suggestion of the full-blown hero he will be in the future. River Phoenix’s performance perfectly suits adolescent Jones’ as a confident and educated young man with much of the daring do he is known for in the future, but as of yet holding little power and finding himself at the mercy of forces larger than him. The opening scene is a microcosm of Indiana’s later adventures as he puts his life on the line for his ideals, and ends up betrayed by those he seeks to serve -- in this case, the sheriff. It also elaborates upon the origins of a good deal of character traits that were otherwise left unnoticed. “Within a few precious minutes, the scene manages to explain the origins of everything from Indy’s fear of snakes to his acquisition of his trademark Stetson hat.” (Pfeiffer 180)

While in the past two films, Indiana is something of a male Mary Sue with his idealized, nigh flawless character and powerful screen presence, the opening scene presents to us a more vulnerable Indy, as is the theme throughout Last Crusade. Our hero is time and time again robbed of his dignity and seen with egg on his face. This allows us to see Indiana through his father’s scrutinizing eyes, making the opening scenes almost as illustrative about Henry Jones, Sr. as Jr. Going to his father for help after obtaining the crucifix, Henry Sr. fails to take his son seriously, and ignores his claims, instead forcing him to count backwards in greek. The emasculating shame Indiana feels reminds us that he is still only a child, and a shadow of the hero we see him as later in his timeline.

Indy hates the thieves for their selfish desires, reiterating his position that the artifact “belongs in a museum”. However, the man in charge of them dresses exactly like Jones does in adulthood. This draws a parallel between them, where Indy considers himself to have the moral high ground, but in the future he is little more than a glorified grave robber himself at certain points in his career, like during the events of Temple of Doom. The man plays the roll in Indy’s life that is later filled by Belloq in Raiders of the Lost Arc, snatching victory out from under him after he believes himself to be safe. At the same time, the man encourages Indy to continue his pursuits, giving him his signature hat and giving him hope for the future through negative example, displaying to him the graverobbing thievery to which he could succumb and motivating him to retain his ideals.

Oria, Hanover Street (Makeup)

         The first half of the film Hanover Street establishes a love affair between an American pilot, David Halloran, and an English nurse.  It is later revealed that she is married to a man that Halloran is meant to fly into occupied France.  This was the initial reason Harrison Ford accepted the role of David Halloran in the first place.  Prior to this film, Ford claims that, “I had never kissed a female human being on screen before. The characters I played were totally sexless, and here was a movie that was being touted as a romance. That was a clear, obvious reason for doing it,” (Pfeiffer, 84).  While it may have been seen as a romance film, the second half of the film is filled with action and adventure.  Halloran embarks on the mission to transport Sellinger to occupied France.  By doing so, Halloran ends up stuck on the mission with the husband of his lover.  On this mission, the qualities of a hero come into questions. Sellinger applauds Halloran for being a hero.  Sellinger juxtaposes himself against Halloran claiming that if someone were drowning, Halloran would be the one to save him or her and Sellinger would be waiting to give them his coat.

         Sellinger points out the qualities of a hero.  These qualities are someone who jumps to action when something goes wrong.  Someone who does not think before acting and is brave enough to risk their own life.  A hero is one who is willing to put others before themselves.  Sellinger believes that Halloran embodies these qualities.  Sellinger is clearly envious of Halloran’s bravery.  He attempts to prove his manhood and become his idea of a hero.  Rather than send someone else on the mission, Sellinger takes the man’s place.  He would rather die than remain dull. 

         While Halloran fits this description of a hero, he also does not fit it.  He is brave and quick to act but he is also a bit reckless.   He is the hyper masculine war hero.  Before meeting the English nurse, he does as he pleases and has nothing to loose.  It is not until he meets her does he become more of a hero.  Halloran begins to fulfill the selflessness aspect of a hero rather than just being brave. In the end, Halloran chooses to let his love go.  He realizes that he cannot have her.  This is the moment where he truly learns to sacrifice his desires for the well being of others.  Although he does not see it, Sellinger could be considered a hero as well.  He is willing to risk his own life, but for all the wrong reasons.  It is in this way that the two together make up the hero of this film.