Raiders of the Lost Ark: Perbedaan antara revisi

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[[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]] calledmenyebut itfilm aini returnkembali toke formbentuk foruntuk Spielberg, demonstratingmenunjukkan akompetensi competencetidak notterlihat seensejak since ''Jaws''.<ref name="timeSlambangPage1"/> HeDia describedmenggambarkannya itsebagai asfilm ayang filmakan dibuat [[Walt Disney]] wouldseandainya havedia mademasih were he still alivehidup, featuringmenampilkan ankombinasi "enchantingmempesona" combinationantara offantasi fantasydan andgerakan cinematic movementsinematik.<ref name="NewRepublicReview"/<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"/>