Raiders of the Lost Ark: Perbedaan antara revisi
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Rekor pendapatan musim panas tahun 1981 senilai $1,95 miliar menunjukkan peningkatan sebesar 15,6% dibandingkan tahun 1980, dengan peningkatan penjualan tiket sebesar 22,5%. Keberhasilan ini terutama disebabkan oleh ''Raiders of the Lost Ark'' dan ''Superman II''.<ref name="NYTimesIndySummerWinner"/><ref name="NYTimesValenti"/> The most successful film genres of the year offered fun, comedy, and escapism.<ref name="NYTimesIndySummerWinner"/> ''Superman II'' broke box office records, but it was ''Raiders'' that earned the most money and played in theaters for over a year.<ref name="NYTimesSummer1982"/><ref name="NYTimesOneYearLater"/><ref name="NYTimes1981June30"/> ''The New York Times'' reported that audiences only considered other films if both ''Superman II'' and ''Raiders'' were sold out.<ref name="NYTimesQueue"/> It became one of the top-four highest-grossing films ever, a list dominated by Lucas and Spielberg with ''The Empire Strikes Back'', ''Jaws'', and ''Star Wars''.<ref name="NYTimesSummer1982"/><ref name="NYTimesFourthHighest"/><ref name="NYTimesOscarNom"/>
== Penerimaan ==
=== Tanggapan ===
''Raiders of the Lost Ark'' was released to general acclaim by critics and audiences.<ref name="AVClubRetro"/><ref name="TelegraphRetro"/> The [[National Board of Review]] and critic [[Vincent Canby]] listed it as one of the ten best films of the year.<ref name="NYTimesNBOR"/><ref name="NYTimesTopTenCanby"/> Canby labelled the film an "instant classic" and one of the most humorous and stylish American films ever made. He described it as having refined the old serial films into their most perfect form for a modern audience.<ref name="NYTimesCanbyReview"/> [[Roger Ebert]] called it a series of "breathless and incredible" adventures inspired by and celebrating childhood stories told in comic books and movies. He concluded the film is successful in its singular goal of entertaining, creating an adventure epic in the vein of ''Star Wars'', [[List of James Bond films|the James Bond films]], and ''Superman''.<ref name="RevEbert"/> Writing for ''[[The Hollywood Reporter]]'', Arthur Knight said a constant stream of thrills kept the film moving at a steady pace.<ref name="ReviewTHR"/> Writing for ''[[Variety (magazine)|Variety]]'', Stephen Klain called the film "exhilarating escapist entertainment". He continued that the film successfully balanced action, comedy, and suspense with mystical mythologies.<ref name="VarietyReview"/> [[Michael Sragow]] described it as the "ultimate Saturday action matinee".<ref name="RollingStoneReview"/> [[Gene Siskel]] said it was as entertaining as a "commercial movie" could be, the kind of film that makes children excited about cinema.<ref name="GeneSiskelReview"/>
[[File:Paul Freeman.jpg|thumb|left|upright|alt=A photograph of Paul Freeman|[[Paul Freeman (actor)|Paul Freeman]] in 2016. He was singled out for praise by the otherwise critical [[Pauline Kael]] for continuing his performance after a fly crawled into his mouth.]]
[[Richard Schickel]] called it a return to form for Spielberg, demonstrating a competence not seen since ''Jaws''.<ref name="timeSlambangPage1"/> He described it as a film [[Walt Disney]] would have made were he still alive, featuring an "enchanting" combination of fantasy and cinematic movement.<ref name="timeSlambangPage5"/> [[Stanley Kauffmann]] said while the film's thrills did work on him, the frequency eventually irritated him. He criticized the film's reliance on nostalgia and updating older films instead of innovating new ideas.<ref name="NewRepublicReview"/> [[Pauline Kael]] was critical of the film, saying Lucas and Spielberg had thought like marketeers, in creating a film that would appeal to the broadest masses. Kael said though ''Raiders'' is a sophisticated update of older serials, that avoids cliches with clever editing, it is too focused on surpassing each previous action spectacle to the detriment of characterization or plot progression. She opined the failure of ''1941'' had made Spielberg too cautious, and scenes evidenced he was rushing and not achieving the best possible take as in his previous work.<ref name="PaulineKael"/><ref name="PaulineKaelNYT"/> Lucas later named a villain in his 1988 fantasy film ''[[Willow (film)|Willow]]'' after Kael.<ref name="PaulineKaelNYT"/> [[Dave Kehr]] said the constant rush between setpieces felt monotonous. He also criticized the story for allowing the hero to choose to rescue the Ark over his romantic interest on multiple occasions, believing it made Indiana Jones difficult to support.<ref name="ChicagoReaderReview"/>
The principal cast was generally well-received. Ebert said the amusing and unusual characters elevated the film beyond just a technical accomplishment. He described Ford's performance as taciturn and stubborn character in the vein of Humphrey Bogart in ''The Treasure of the Sierra Madre'', but with the ability to laugh at himself.<ref name="RevEbert"/> Klain described Ford's performance as "riveting", marking a major career highlight.<ref name="VarietyReview"/> Canby described Ford and Allen as both "endearingly resilient".<ref name="NYTimesCanbyReview"/> Ebert said Allen gives Marion a charming toughness.<ref name="RevEbert"/> Knight appreciated Marion did not become idiotic when the male star was in danger. His review concluded the character was the definition of an [[Feminism|activist]].<ref name="ReviewTHR"/> Srawgow said Allen's physical performance made her every bit the equal of Ford, and her vitality provided a positive counter to Ford's deadpan performance.<ref name="RollingStoneReview"/> Kael was critical of many cast performances, feeling they were stilted and heavily scripted. She singled out Freeman for praise, however, for continuing his performance after a fly crawled into his mouth;<ref name="PaulineKael"/> Freeman jokingly called it the best review of his career.<ref name="EmpireOralHistoryPage3"/> Klain called Lacey's Toht one of the most offensive Nazi stereotypes seen in cinema since World War II. However, he praised Rhys-Davies's and Elliott's performances.<ref name="VarietyReview"/>
Several reviewers singled out the opening of the Ark as one of the film's best special effects.<ref name="VarietyReview"/><ref name="NYTimesCanbyReview"/><ref name="ReviewTHR"/> Knight said the effects artists deserved a "special accolade" for their work.<ref name="ReviewTHR"/> Canby described it as a visual display as "dazzling" as the denouement of Spielberg's ''Close Encounters of the Third Kind''.<ref name="NYTimesCanbyReview"/> Ebert said the truck chase stunt was the best he had ever seen, ahead of those in films like ''[[Bullitt]]'' (1968) and ''[[The French Connection (film)|The French Connection]]'' (1971).<ref name="RevEbert"/> [[Aljean Harmetz]], Klain, and Siskel asserted the film's PG rating—meaning any child could see it unsupervised—was too lenient for such a scary film filled with a variety of on-screen deaths. An intermediate rating between PG and R, PG-13, would not be introduced until 1984, in part a response to the violence of the Indiana Jones prequel, ''Indiana Jones and the Temple of Doom''. Some children were reported to have suffered nightmares afterward.<ref name="VarietyReview"/><ref name="GeneSiskelReview"/><ref name="NYTimesAgeRating"/><ref name="PG13"/>
== Rujukan ==
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