Indiana Jones 5 De-Ages Harrison Ford — But It Doesn’t Work – Variety

Courtesy of Lucasfilm

The cutting edge technology has yet to catch up with the industry’s ambitious vision of using only one actor regardless of age

It’s a funny fact that actors in Hollywood hate to admit… people are getting older.

The natural progression of life, Hollywood is engaging in de-aging effects for older actors to play younger versions of their characters, whether in a franchise or standalone film — such as Robert DeNiro in “The Irishman,” Samuel L. Jackson in “Captain Marvel” and most recently, Harrison Ford in “Indiana Jones and the Dial of Destiny.”

As with most new technologies that come into the industry, it takes some getting used to. However, in more than two dozen high-profile experiments so far, the misfires far outweigh the successes. The effects of de-aging in Hollywood still need to be fine-tuned, and Hollywood should only use it once we’ve perfected the technique.

A major concern is that while these effects are visually stunning, they cannot replicate the natural look of a younger person. In addition, it can affect how viewers react to the film, becoming distracted by special effects that lack the subtle nuances and authenticity that create human expressions.

James Mangold’s take on the famous archeologist received a lukewarm response following its premiere at the Cannes Film Festival, with critics and attendees divided over the franchise’s fifth installment. But hardcore Indy fans may find redemption in the final chapter of Ford’s beloved hero, following the insufferable “Kingdom of the Crystal Skull” (2008),

In the first 25 minutes, which spans a large action set piece featuring the professor fighting Nazis on a high-speed train during World War II, Ford is digitally transformed back to his prime, starting with the 1981 classic by Steven Spielberg’s “Raiders of the Lost Ark.” After removing a bag from the actors’ heads, the digitized eyes fail to use the realism of an Indiana boy, instead simulating what looks like a video game story break between gameplay before the user takes over the character to do the next mission or quest.

While the action beats and moves are impressive, the effects scene only works because, for most of it, it’s shrouded in darkness, featuring both Ford and co-star Toby Jones (not de- aged?) running across train rooftops ducking and dodging the worst soldier aim depicted in modern cinema.

With de-aging effects deemed successful — like 2019’s “Gemini Man” with Will Smith as an assassin pursued by a younger, cloned version of himself or Alfred Molina in his welcome return as Doc Ock in 2021’s “Spider-Man: No Way Home” – it offers the false impression that “Hollywood has it in.” But in fact, some attempts are less disturbing because they are used in subtle and intelligent ways throughout their implementation.

It can be argued that there is such a thing as “too old to be de-aged.” For example, despite getting an Oscar nomination for best visual effects, one of the main criticisms of Martin Scorsese’s 2019 gangster flick “The Irishman” is that despite a valiant effort to make its three main leads — DeNiro, Al Pacino and Joe Pesci — look decades younger, when the actors play the characters in that particular episode, they still maneuver like someone in their senior years. Such physical limitations imposed by technology can restrict the actor’s range of facial expressions and body language, mostly due to the extensive digital manipulation that must take place.

What happened to the good old days of casting different actors to play characters at different stages of their lives? Are we no longer seeing the value of what Judi Dench and Kate Winslet brought to “Iris” in 2001 or Winslet and Gloria Stuart to “Titanic?”

Following today’s trends, Marlon Brando lost his age to play the Corleone patriarch in “The Godfather Part II,” dethroning Robert DeNiro’s Oscar-winning turn. Even River Phoenix did a great job portraying a young Indiana Jones in “The Last Crusade.”

The harsh truth is that there is a fundamental difference, discernible by eye, between how someone in their 20s and 30s navigates the world compared to someone in their 70s and 80s.

That may explain why Mads Mikkelsen, 57, who plays the villainous Jürgen Voller, has no problem transitioning from his 1939 to his 1969 self.

Hindsight and time always allow for perspective and reflection. So even though David Fincher’s “The Curious Case of Benjamin Button” won the Oscar for visual effects in 2010, it might not have been the best idea to retrofit Brad Pitt’s face into the body of a young adult-looking man. , but then have a real live baby at the end, which is logically indeterminately tracked.

Interestingly, we found the technology used heavily among older male actors and rarely among females. Michelle Pfeiffer from “Ant-Man and the Wasp” and Sean Young from “Blade Runner 2049” are some examples. What will be the reception when a famous A-lister like Helen Mirren or Julia Roberts takes a leading role trying to use them? Will it be received similarly or more harshly?

Are the effects why “Dial of Destiny” doesn’t work for its detractors? Not exact.

It’s unapologetic about who it’s catering to… its adoring fans. Like any franchise hero without superhero powers, narrative and action trump physics and logic, like every character scaling a rock wall with no gear or surviving a missile blast at a compound (which hasn’t also as bad as surviving a nuke with a refrigerator in “Crystal Skull”). All ironic because Indy is an ardent supporter of “science.”

In addition, most of the movie looks like a 1969 “Grand Theft Auto” template, and also possibly sets the record for the number of times people are kidnapped and rescued in a 142-minute movie.

While “Raiders of the Lost Ark” landed nine Oscar noms and five wins, “Dial of Destiny” seems unlikely to follow in its predecessor’s footsteps. Last year, two blockbuster sequels entered the best picture lineup — 20th Century Studios’ “Avatar: The Way of Water” and Paramount’s “Top Gun: Maverick” — with the latter also debuting at Cannes. There are usually two roads leading to recognition for the Academy’s top prize — record-breaking box office and/or love from artisan branches.

I found myself hypnotized by the nostalgia of it all and thoroughly enthralled by the performances of Phoebe Waller-Bridge (even though her character lacks likability) and newcomer Ethann Isidore (maybe he could win of his own Oscar in 30 years?)

It’s unclear whether “Indy” can secure either, even based on these early reactions.