Scene Analysis: Indiana Jones: Raiders of the Lost Arc-Idol scene
This scene takes place less than 5 minutes into the movie. Indiana Jones has just reached a South American idol after navigating multiple booby-traps throughout the temple.
This Medium shot is used to establish the objective, as well as the objective that he's come so far to get. Since both Indy and the idol are in sharp focus, it is obvious who and what we need to focus on, and what the next set of actions will take place around.
In this low angle medium shot, we see the idol in sharp focus, and Indy's hand and the sand out of focus. Both of these work together to give more weight to the idol and the danger surrounding it.
This Wide Shot shows the entire area, reminding the audience of the surrounding world, as well as showing the booby-trap that Indy just navigated through immediately prior to this scene. While Indy and the Idol are in sharp focus, Indy's guide, Satipo, can be seen slightly out of focus in the upper left quadrant of the screen. This brings him back into the scene for the next cut.
This Medium Shot show Satipo waiting for Indy to get the Idol. This cut away from the action increases the tension, as we can no longer see the main action.
The next cut brings us back to the action with a Medium shot of Indy and the idol. As Indy attempts to steal the idol, there is a sense of foreboding due to the framing of the shot, which continues to show the previous trap.
Once more we cut away from the action to Satipo. Since Indy just replaced the idol with the sand bag with nothing happening immediately afterward, this Medium Shot allows a small tension release.
This Medium Shot is a partial match cut to the previous shot of Indy, off by only a few seconds due to the cut to Satipo. While tension is released due to Indy's apparent success, the framing of the prior trap still in the shot continues a slight air of coming disaster.
The camera pans and tilts ever so slightly as Indy begins to turn and return to Satipo. Then the center of the pedestal begins to sink, indicating a trap. The fact that we remaine on this shot allows the tension to build as we have knowledge that Indy does not.
The next cut is again away from the main action to the medium shot of Satipo. This allows increase of tension, as it's the first character to realize the danger.
Once more we cut back to this Medium Shot of Indy. The tension increases once more with this shot, as Indy finally realizes the danger.
This wide shot showing the temple from the reverse angle breaks the 180 rule, however, the arrangement of all major character and the location itself is well established, so the break is acceptable. However, the break does make the cut visible, though the fact that it's a match cut down plays this slightly. The other major advantage of cutting to this particular wide shot is that the scale of the self-destruction of the temple is clear.
This cut continues on the same side of the previous break. This increases the tension because a wide shot of Indiana Jones running toward the camera with a clear view of the destruction behind him is more suspenseful than one of him running away from the camera, as the danger isn't entirely visible.
This cut returns to the previously established side of the 180 line for a shot of Indy running away, through the earlier trap. This continues to raise the tension because the danger Indy is running from is now fully established, and shows the danger he is about to run into, namely the dart trap.
This Medium Dolly shot is not only a cool shot, but the movement also puts some dynamic back into the scene which up to this point has mainly been static shots of the action. This also places the audience right there in the action.
We now cut to a tracking shot of Indy running through the trap as the temple collapses. This infuses more dynamic into the shot, as well as upping the tension again.
The next cut is another Dolly Shot on the opposite side of the first. This serves essentially the same purpose as the first.
The last cut in this sequence of shots is a static Medium Shot breaking the 180 rule again. This shot releases a slight amount of tension, as Indy is escaping the immediate area, and the dart trap.
This Low Angle, Long Shot shows Satipo escaping the collapsing section of the temple. This releases a slight bit of tension, as a character has made his safe escape.
This Close Up shows the branch used to swing across the chasm breaking. This Close Up allows us to know exactly what happens, and eliminates confusion that would result if there was just a cut from the previous shot to the next, as well as raises the stakes and tension once again.
This Low Angle Medium Shot shows that Satipo has fallen, and that the whip has come off of the branch. This raises the tension, as now the main character is stuck on the other side that is collapsing.
This Over The Shoulder Shot re-establishes that Satipo and Indy are on opposite sides of the chasm. This once agin raises the tension.
Another Over The Shoulder shows a new dilemma that raises the steaks even more. The over the shoulder also serves to remind the audience once again of the chasm that now separates the characters both physically and as characters; the self-serving Satipo, and the hero, Indiana Jones.
This Low Angle Medium Shot shows the closing door behind him, once more upping the tension, and forcing Indy's dilemma forward, as well as placing a clock on this sequence. Notice that the door is in focus, and Satipo is out of focus.
The previous shot then pans up to a Close Up of Satipo. Notice that the focus has now shifted from the door, which is now in soft focus, to Satipo who is now in sharp focus.
This Close Up of Indy shows us Indy's expression, revealing how he feels about the trade, and his determination as well. The framing of Indy slightly off screen and in the left third is slightly disturbing, giving the audience a slight feeling of unease, raising the tension further.
We return again to the Over the shoulder shot from Satipo's perspective, showing us the trade. We are also reminded of the chasm and the devide between characters.
This Close Up of Indy again gives the audience a sense of unease, as part of his head isn't fully on screen. This unease, once again "ups the ante"
The next cut is to a medium shot of Satipo betraying Indy. Part of the reason that a medium shot is used is because anything much closer could cause his act of dropping the whip to be missed, and anything much farther out runs the risk of flat lining the tension build instead of allowing it to increase.
This close up of Indy charging forward to leap across the chasm serves to increase tension, as we have an idea of where he is jumping, but can't see exactly where the chasm is. This only works because the chasm's location has been well established in previous shots. Also, this is the beginning of a really staccato section of cuts that parallels the tension approaching the "breaking point."
This Medium Long shot from across the chasm slightly breaks the 180 rule, but again, the position of the chasm is well established. This wider shot also allows us to see Indy's leap across the chasm and see how close he comes to reaching, yet failing to ultimately make it. This increases the tension yet again, and unlike in many more modern action films that would use many more close ups and medium close ups to show this single action, the audience is able to fully grasp whats going on.
Very quickly we once again cut to this Low Angle Long Shot from the bottom of the chasm, showing Indy's peril, and increasing tension. Again, the longer shot works better, as we are able to see the entirety of the trap, and thus grasp the intensity of the danger.
After the last long shot, we cut to a new High Angle Long Shot, showing Indy struggling to get out of the pit. This longer shot is invaluable, as it shows the exact location of Indy relative to the closing door and the ledge of the pit itself.
After only a second or two at the High Angle Long Shot, we cut to a Medium Shot. Notice that part of a root is in focus as well as Indy himself. In this shot we see Indy begin struggling to reach this vine/root, and the focus on both objects, as well as framing Indy within the arch of the root, places more emphasis on the root, portraying it as Indy's salvation.
This Match Cut to a High Angle Long Shot reminds us once of the clock, the door closing on Indy, and increases the tension further. Notice that the door is also slightly more in focus than Indy.
This Medium Shot shows the pit itself deteriorating as Indy struggles to climb out. The Medium shot is used because if this dilemma was placed in a shot showing the rest of the things going on, the door, the root, and the collapsing temple, this new bit would simply be lost.
The Medium shot of Indy and the root allows a clear view of Indy grabbing the root, allowing the audience to avoid confusion. Also, in this shot we see Indy break the Frame Within A Frame that was occurring with the root, this allows the release of a bit of tension, as it now appears Indy can make it out of his predicament.
The next rapid cut is to Indy's strained, but triumphant face as he begins pulling himself out of the situation. Again, this accomplishes a slight tension release.
This Medium Shot shows the root start to pull out of the ground, once again heightening the tension, this time dramatically. Again, the Medium Shot is used so the audience can see the entirety of the situation without being confused.
Next, a Match Cut to a Close Up of Indy allows us to fully see his concern, as well as see him slipping again. The framing of Indy lower in the frame heightens the sense of his impending fall.
The Low Angle Long Shot of the door once again reminds us of the ticking clock. An interesting continuity error here, the door seems to have risen maybe six inches from where it should be based on its previously established rate of closer.
We see another Close Up of Indy here. This can be seen as another return to the action. Because it's closer than the long shots, this shot also gives the audience a larger feeling of empathy toward Indy, and places them more squarely in the action.
This return to the Low Angle Long Shot from the bottom of the pit further increases the tension, as the last 14 shots have all been edited together using a rapid, staccato style of editing.
This Medium Shot shows Indy finally beginning to pull himself out of the pit. The Medium is used here as it allows the audience to feel a part of the action, yet is far enough back to allow us to see what is going on.
A return to the High Angle Long Shot begins the release of tension, as we finally see Indy free himself from the pit. This particular shot also reminds us of the second obstacle and ticking clock; the closing door, which is again slightly higher than where it should be.
This Medium Long Shot finally ends the staccato pace of cut that has lasted the last 16 shots, and returns to a more relaxed pace with longer shots. Also the majority of the tension is released as we see Indy finally escape into relative safety. Again a medium shot is used to due to it's balance between the thrill of the action and understanding what is happening.
This Medium Dolly Shot showing the skeleton of Indy's old competitor reminds the audience of the first trap. This increases the tension, as the audience has been reminded of the trap, but it is unclear yet whether or not Indy remembers it.
This Medium shot shows Indy seeing the skeleton. This releases some tension as the audience is assured that Indy remembers the trap, or at least has been reminded of it. A Medium Shot is used because a close up would not have made it immediately clear that Indy saw it.
The shot above then turns into a Discovery Dolly Shot, as the shot tracks with Indy as he turns and sees Satipo caught on a trap that would have killed Indy. This gives a temporary spike in tension as the audience is startled by this discovery.
The next shot starts out as a High Angle Medium Shot showing Indy reaching for the idol that Satipo dropped.
The shot then pans up, tracking with Indy, returning to the Two Shot that the previous cut ended on. This is then immediately match cut to the next shot as Indy walks out of frame.
This Character Dolly is match cut with the previous shot, as it slowly moves in on Indy.
Indy then turns around at a noise as the shot continues to push in on him, ending in a close up of his face. This increases the tension again, as the audience is unsure what exactly Indy is afraid of.
The next shot is again match cut to the previous on. This Low Angle Medium Long Shot raises tension once again as the audience finally sees what Indy is worried about. The boulder also adds a new clock too the scene.
As the boulder begins to roll down the track after Indy, the camera is able to pan up as it goes over the camera. This unique shot allows for greater tension, as well as giving the scene a little more dynamic. Ever since the tracking shots with the dart trap more and more dynamic movement has been used, allowing for dramatic increase in tension.
This next shot is a simple Wide Shot match cut to the previous shot that shows the boulder reaching the end of the track and beginning to chase Indy in ernest. The fact that we now actually see the boulder on the temple floor heightens tensions again.
This Long Shot puts us back in front of the boulder where we will be for the rest of the scene. The fact that we are in front of the boulder heightens the sense of being chased by the thing, and allows the tension to grow further.
We again have a Wide Shot of the boulder chasing Indy, this time a little further down the tunnel. The shot is held long enough for Indy to exit the frame and for the boulder to get closer to the camera, continuing the hight of the tension, and furthering the new clock.
This is a slightly odd angle, as it's not actually in the path of the boulder, but a Wide Shot off to the side of it. It's whole purpose is to heighten the tensions more by showing the boulder gaining on Indy.
This Medium Shot increases tension heavily by placing the audience in the direct path of the boulder. Because we have always been looking behind at the boulder instead of ahead to where Indy is running, the tension is continually increased as we are not 100 percent sure where Indy is running.
This Wide Shot is once again slightly off to the side of the track, but also pans with Indy as he runs. This allows us to see all of Indy's movements which is important, as we are approaching the end of the scene.
This is the end part of the previous shot. At this point, Indy leaps forward, though we can't be quite sure where to.
Finally, we see Indy finish his leap out of the cave/temple in this Wide Shot. This allows the complete release of tension, as he has finally escaped all of the traps.
