Review
Culture
Film & TV
6 min read

No more heroes anymore

A nothing of a film robs Indiana Jones of a decent goodbye, leaving Yaroslav Walker yearning for something more black and white.

Yaroslav is assistant priest at Holy Trinity, Sloane Square, London.

A silouhette of an adventurer, wearing a fedora hat, stepping gingerly along a rickety bridge.
Indiana Jones searches for the exit in the twilight.
Walt Disney Studios Motion Pictures.

In a depressing sign that all creativity and originality is truly fading from the world, we are offered another India Jones film - Indiana Jones and the Dial of Destiny. We are offered a third farewell to a beloved character that robs him of all the wit, charm, charisma, and esteem he ever had. We are served a platter of mildly uninspiring nostalgia-bait cameos, CGI set-pieces, a plot thinner than a communion-wafer, and a finale that seems to be the sleep-deprived fever dream of an over-worked and over-caffeinated script writer meeting a deadline. 

It opens in style, and on comfortable ground. We’re back on the Nazis. GREAT! If there’s one thing Indiana Jones can do, it is punch Nazis. A hooded figure is dragged into a soon to be bombed castle that is being looted by retreating Nazi soldiers. The hood is removed, and we see… young Harrison Ford? Not quite, but not bad. As far as de-aging technology goes it could be worse…but then the voice. There is no way to get around the fact that 80-year-old Ford sounds markedly different to 45-year-old Ford, and that just rips you straight out of the film. 

The rest of the opening set-piece never recovers, and is so saturated with CGI, that it fails to engage or excite. This goes for much of the film (with the exception of quite a fun car chase through the streets of Tangier) – scenes set leagues under the sea, or miles high in the sky, are so weightless and empty as to be boring. Despite being far greater in scope, they don’t even come close to matching the rollercoaster tension of the mine-car chase in Temple, or heart-stopping wonder of the jump from the horse to the tank in Crusade, or the juvenile joy of the aborted sword-fight/shootout in Raiders. Anyway, Indy stops the Nazi train, seemingly dispatches Mads Mikkelsen’s Nazi scientist, and manages to steal the Antikythera mechanism of Archimedes. Toby Jones adds some light relief as his partner in adventure and is on screen far too little. 

Pheobe Waller-Bridge... does snark and sarcasm and raised eyebrows better than most, but that isn’t a good foil for Indy. Indy is the snarky one. 

Cut to 25 years later and Indy is a shadow of his former self: an alcoholic, exhausted, uninspired shell of a college professor, counting down the days to death now that he and Marion have separated. It is impossible to say who this film is for. It can’t be for fans of the original, who must be horrified to see the great Indy reduced to this. It can’t be for newcomers who have no way of understanding why this man is significant, and in what way this degeneration is meaningful. So, who is it for? People who hate the character and want him to be taken down a peg or two? This feeling seems to inspire the cameos also – don’t put Sallah and Marion in an Indiana Jones film for a combined screen time of five minutes or less! 

Anyway, the plot develops and there isn’t much of it, which is fine; an Indiana Jones film is ultimately a collection of set-piece fetch quests strung together, and that can be glorious…when done right. Indy must team up with his estranged goddaughter (who’s father was Toby Jones) and a bargain-basement Short Round (what I would have done to see Ke Huy Quan properly reprise the role) to find the other half of the Antikythera mechanism before Mads Mikkelsen and his group of Nazis who are hiding-in-plain-sight. Why? Time travel. Obviously. 

The performances are fine. Harrison Ford does grouch better than most, and seems to actually be putting effort in. Pheobe Waller-Bridge is…Pheobe Waller-Bridge. Being Pheobe Waller-Bridge is fine…is great! I think Fleabag is one of the best pieces of television we’ve had in the last decade (especially season two). She does snark and sarcasm and raised eyebrows better than most, but that isn’t a good foil for Indy. Indy is the snarky one, Indy is the mocking one. It isn’t Waller-Bridge’s fault, it is what she was given to work with, but it is annoying and upsetting. Mads Mikkelsen is brilliant – the one shining light in the gloom – because he is always brilliant and should be in all films. 

To say one genuinely, properly positive thing: the score is lovely. If this is John Williams’ final outing, then what a way to go! 

Do we have to break Indy down? Do we have to end with him so broken and pathetic that he would rather give up than fight, and who must be punched by his goddaughter for the film to be resolved? 

Clearly, I’m a little upset and am ranting somewhat…but this is important. Indiana Jones is an iconic character, especially to young boys. I don’t want to get into the discourse on men refusing to relinquish control of certain protagonist archetypes, because that isn’t what I argue for. Adventurers, spies, soldier, boxers, etc…all characters that have had excellent female lead portrayals and certainly should have more, if that is what creators and audiences want. But…can we have this not at the expense of a beloved character? Do we have to break Indy down? Do we have to end with him so broken and pathetic that he would rather give up than fight, and who must be punched by his goddaughter for the film to be resolved? 

Okay, let's try to take this out of a context that can lead to toxic online discourse. Let’s park the question of whether we’ve gone too far in breaking down good role models for young men (we have, and we ought to stop). Let’s just look at role-models in general. In the Church such role models are called saints. They point us to the practices and prayers that can bring us to holiness, that can bring us closer to God. We remember them for their great and mighty deeds. For some it is victory in great spiritual struggle – like St Anthony punching demons in the face. For others it is achievement in great theological study – like a St Thomas Aquinas or a Richard Hooker. Some are titans of charity – St Francis – who inspire others to set up schools and hospitals – a St John Bosco or the nuns in Call the Midwife.  

We don’t slavishly worship their every waking thought or act. We know they were human; they were fallible, they were sinners! Some saints are saintly because they give us an insight into their own complexity and nuance and fallenness – St Augustine’s Confessions is a text that everyone should read every year. But we don’t linger on their faults, and foibles, and indiscretions. That is a recipe for despondency. We know the saints weren’t perfect, but we look to their great and godly example for inspiration. 

 

It was C.S. Lewis who complained, almost a century ago, of the inability of post-war fiction to paint in black and white. I agree, and Dial is an example of this. 

I’ve complained in reviews before about the fact that we seem to be unable to have proper villains. This film doesn’t fall into that trap – Mads Mikkelsen’s Jürgen Voller is just evil, a proper Nazi, the most ‘Nazi’ Nazi there is, more Nazi than Hitler! – but it doesn’t want to give us a decent hero. I think it was C. S. Lewis who complained, almost a century ago, of the inability of post-war fiction to paint in black and white. I agree, and Dial is an example of this. Sometimes we need to be reminded of good and bad, holiness and evil, and that we ought to turn to one and away from the other. 

Dial of Destiny is a bit of a nothing film that robs Indy of a decent goodbye – he had a great one riding into the sunset with his father and with Sallah, and an okay one when he married Marion – but it is significant in continuing the trend we see of robbing heroes of their heroism, as other films rob villains of their villainy. It would be nice to see a return to great adventure epics showing us a bit of black-and-white. It is good for soul – it gives us something to aspire to, and something to flee from…it gives us an example to follow.  

 

2/5 stars – just watch the original trilogy. 

 

Column
Character
Confession
Culture
Psychology
8 min read

‘Yet All Shall Be Forgot?’ Saying sorry has never been more difficult

Acknowledging wrongdoing is vital for any society to flourish. So why do we find it so difficult to apologise, especially online?

Roger Bretherton is Associate Professor of Psychology, at the University of Lincoln. He is a UK accredited Clinical Psychologist.

On a street, two men confront each other face to face.
Darwin Boaventura on Unsplash.

People in the UK don’t like to apologise. At least that’s what a recent poll reported by the Daily Mail claims. Of a thousand British people surveyed, about forty percent of them claimed they didn’t like to apologise because they were never wrong! At least that’s what the headline said. When you actually look at the survey itself, things get a bit more nuanced. 18 per cent don’t feel ‘comfortable’ making an apology. 15 per cent don’t like admitting they’re wrong. 23 per cent feel embarrassed at the thought of apologising. Sorry does indeed seem to be the hardest word. And Elton John seems to be the hardest person to avoid quoting whenever these things come up. Which they do - a lot! 

We shouldn’t really be that surprised by the findings of this study. Contrary to the popular belief that the world is divided between goodies and baddies, upstanding citizens and immoral rotters, the ethical picture is much more complex than that. The line between good and bad, as Russian dissident Aleksandr Solzhenitsyn noted, runs through people not between them. Many moral qualities like kindness, forgiveness, gratitude, humility and so on, are trait-like. There are relatively few pure saints and absolute villains, most of us linger in the muddy moral middle, neither exceptionally good nor reprehensibly evil. And this is what the survey indicates. Despite all our reservations about apologising, the average 20 to 50-year-old says sorry about three times a week, totting up an annual total of 150 apologies per year. We may not like apologising, but we get there in the end.  

Unfortunately, it’s not as simple as all that. Because while we may apologise, we don’t always mean it. If the need to apologise is a spectrum it not only includes those who NEVER apologise, but also those who ALWAYS apologise. If the non-apologisers sit at one extreme, the super-apologisers dwell at the other. These are the people who over-use apology, who never stop apologising for their existence. According to this survey, 41 per cent of us are first to apologise whether or not we think we are in the wrong, and 38 per cent apologise without meaning it. Ever found yourself inexplicably blurting out a sorry to the person who bumped into you at the supermarket? or gratuitously apologising for your emotions in an attempt to appease the workplace bully who caused them? I have. If that’s you, please pull up a chair and join me at the table of compulsive and unnecessary apologies- assuming you can sit down without apologising for taking up the air space. 

With the wisdom of age most of us will learn to let things lie. Which is to say we will learn to forgive. Which is also to say we will learn to accept apologies. 

It does seem, from this survey at least, that people are a bit confused about the nature of apology. ‘Sorry’, is a necessary part of the social vocabulary that makes community life possible. To say sorry is to acknowledge that we are embedded within a rich social network upon which we rely for our existence and without which human life would be untenable. It belongs alongside other basic words like ‘please’ and ‘thank you’, that recognise our social dependence. This applies everywhere: at home, at school, in the office, down the high street, at church. When we say Please, we acknowledge that there are things we cannot do and cannot know without the help of others. When we say Thank You, we accept that even our greatest achievements were team efforts, not wholly down to us. And when we say Sorry, we accept that this community of trust, this web of promises and fulfilments, is fragile. We can act in ways that fray or even break the threads that connect us to others. Sometimes we don’t show up when we said we would. Sometimes we lie to avoid shame. Sometimes we take far more than we should from those who can’t afford to give. Sometimes we are rude, hurtful, even hateful. Saying sorry is the way we recognise, renew and repair our damaged connections to the people on which our lives depend.  

One of the most interesting findings in forgiveness research is that as people get older they generally become more forgiving. Now we can all think of exceptions to this - we all know people who seem to have become bitter rather than better with age - but that’s not the rule of it. Most of us will mellow and become more tolerant as the years pass. Partly because the passing of time diminishes our energy for grudges and plotting petty retaliations. But mainly because the older we get the fewer friends we have left. If young adulthood is awash with weddings, then later life is filled with funerals. To put it bluntly, as we get older more people we know have died. We increasingly realise that our connections to family and friends are priceless and irreplaceable and hardly worth severing over minor grievances. With the wisdom of age most of us will learn to let things lie. Which is to say we will learn to forgive. Which is also to say we will learn to accept apologies. 

Why say sorry if there is no hope of social connectedness? This seems to be the zero-sum game played out in our digital lives. 

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This by contrast sheds some light on why it might be that some people (the maligned 40 per cent of the survey) simply do not apologise. Admittedly it is likely that the tendency to offer apology varies alongside other personality traits like Agreeableness- our general tendency to get along with people. Those high in Agreeableness are more sensitive to ruptures in their relationships and therefore more likely to resolve these with a well-timed apology. And given that women tend to score more highly than men in measures of agreeableness and social intelligence, it seems equally likely that the league of super-apologisers who say sorry too often (like me) is predominantly populated by women (unlike me). By contrast those who do not apologise are likely to be at the tough-minded end of the personality spectrum, more ferociously individualistic, less emotionally aware, and not particularly sensitive to the fabric of social life into which they are inescapably stitched.  

The apologiser and the non-apologiser then inhabit different universes. If apology belongs to a social network that needs to be tended, then the refusal to ever apologise is to deny the relational fabric of human life. Why say sorry if there is no hope of social connectedness? This seems to be the zero-sum game played out in our digital lives. Anyone can trawl the elephant’s graveyard of our online history and find things we said or did in our least thoughtful moments. And if they do, no amount of apology seems sufficient to rectify the mistake. Online apologies cannot erase online offences. It’s hard to imagine a better system for teaching us the futility of saying sorry. 

There‘s a timing issue too. Quite often people who do not like to apologise assume their apology will result in humiliation. If they admit to being wrong, they will be publicly shamed, not restored to connectedness but excommunicated. As a result, if they ever do get round to apologising, they do so reluctantly or halfheartedly or under duress or just way too late, and consequently receive exactly the kind of vicious reaction they assume apologies usually receive. It’s a self-fulfilling prophecy: if we believe our apologies will be met with hostility, we tend to apologise in ways that make hostility more likely. It’s no wonder some people don’t see saying sorry as a viable social strategy. 

To confess is to acknowledge and turn from our self-absorption, distraction, ignorance, inconsistency and whatever else detunes us from this heavenly wavelength. 

It is a pity, because for those who care to look apology can address the deepest needs of the human soul. Apology restores us to the human community, reweaves the threads of trust that connect us to family, friends, colleagues, and neighbours. It assumes there is an invisible world we can rely upon, in which we can place our faith, and to which saying sorry can restore us. This is not just the logic of social apology but also the logic of spiritual apology, or to use the more traditional term, confession.  

Just as we seem to be confused about apology, we are also pretty confused about confession. For many of us it belongs to movies where gangsters seek forgiveness for heinous acts through the screen of a confessional booth. Or even worse to the humiliation of being forced to publicly reveal our most shameful character flaws. But these are caricatures.  

Confession, like apology, ultimately belongs to a benevolent view of reality. A view suggesting that, at all times and in all places we are in the presence of an utterly attentive, absolutely constant and unfailingly loving God. A God who is closer to us than we are to ourselves. A God who cannot help doing whatever it takes to close the distance between us, whose gentle presence hugs the contours of our lives the way the sea hugs the shore. And this divine reality is so permanent, so consistent that, like white noise, we live in complete ignorance of it most of the time. We tend to think that we are here and God is elsewhere, but actually it is God who is here and we who are absentmindedly elsewhere.  

In this universe we don’t confess in the hope that our abject humiliation might possibly eke out a morsel of compassion from an otherwise indifferent deity. No. When we confess we acknowledge that while God may be unfailingly aligned with us we are less so with Him. We don’t seem capable of flying in formation with Him. If He moves in straight lines, our lines waver. To confess is to acknowledge and turn from our self-absorption, distraction, ignorance, inconsistency and whatever else detunes us from this heavenly wavelength. If apology restores us to a wider social reality than confession restores us to the deepest reality of all.