“Indiana Jones and the Dial of Destiny” (now in theaters) is the primary movie in that franchise not directed by Steven Spielberg, who developed the character all these years in the past with George Lucas and Philip Kaufman, in addition to the screenwriter Lawrence Kasdan. Yet the handoff of directorial duties to James Mangold doesn’t really feel like a pressure, as a result of Spielberg established the character of the globe-trotting archaeologist and the fashion of his cinematic escapades so adroitly over the primary 4 movies.

In reality, he set them in stone within the very first sequence of the very first film — as we are able to see in a shot-by-shot look that basic sequence as we speak.

We first see Indiana Jones lower than 30 seconds into 1981’s “Raiders of the Lost Ark” — but it surely’s a fastidiously ready hero entrance, holding again Harrison Ford’s distinctive visage so long as doable. Instead, we first see him from the again, in a body that nonetheless introduces the character and his distinctive iconography (his hat, bullwhip and jacket).

This continues for a couple of minutes; we solely see Indiana Jones from behind, in shadow or in disembodied close-ups, like when he makes use of his bullwhip to grab a pistol from the native who’s about to betray him. “That’s when you first see him with the bullwhip,” Lucas defined in a 1978 story convention that was tape-recorded, transcribed and made available a few years ago. “That’s where the plot comes alive.” After that transfer, we lastly see his face as he steps into the sunshine.

Our first look contained in the cave is creepily atmospheric — darkish and torchlit, with our view of our hero initially blocked by cobwebs. “This is the first scene in the movie,” Spielberg, on the time nonetheless finest referred to as the director of “Jaws,” strategized. “This scene should get at least four major screams.”

Part of the M.O. of the Jones motion pictures is how sequences continually high themselves. We get a primary early instance of that right here, when Satipo (future “Doc Ock” Alfred Molina) is alarmed by a sprinkling of spiders on Indy’s again — solely to show and reveal his personal again lined in spiders.

Few filmmakers are as conscious of their viewers as Spielberg, and he makes use of Satipo as an viewers surrogate; he reacts as we do, registering shock and concern on the numerous risks, booby traps, and skeletons they encounter alongside their means.

Yet the director all the time performs honest. We see all the risks of the cave, at regular pace, on their means in — so we’re ready for Indy and Satipo to face them, at high pace, on the best way out.

With each his beauty and lightning-fast reflexes established, we additionally rapidly get a way of Dr. Jones’s intelligence. He sees each potential lure and punctiliously sidesteps it: the place he walks, the sunshine his physique crosses, the cautious substitute of the idol with the sand bag.

Spielberg cuts tautly, forwards and backwards, between Indy making an attempt the swap and Satipo watching in concern (once more, the viewers surrogate), constructing pressure that appears to deflate when he efficiently manipulates the swap.

And then all bets are off.

In their breakdown of the sequence, Spielberg voiced three completely different variations of 1 concept: “What we’re just doing here, really, is designing a ride at Disneyland.” (There would, subsequently, be an immensely common Indiana Jones trip at Disneyland.) And that’s what they do, making a lightning-fast, whiplash-inducing sequence of ascents and dips, traps and saves, fake-outs and tight squeezes. Indy lastly appears house free … after which comes the topper.

The most memorable picture in a scene filled with them performs out simply as Lucas described it in 1978. “There is a 65-foot boulder that’s form- fitted to only roll down the corridor coming right at him,” he defined. “And it’s a race. He gets to outrun the boulder. “

And shockingly, he does. He ends up covered in cobwebs and escaping empty-handed, but at least he escapes …

… using a conveniently-placed vine to make a skin-of-his-teeth getaway, accompanied by, for the first time, John Williams’s unforgettable main theme. And then, once in the plane, we find out that (the previous sequence notwithstanding) there is one thing Indiana Jones is afraid of: snakes.

“In the end all it is a teaser,“ Lucas said of this opening, as they mapped it out years in advance. And he’s right; it’s a marvelous preview of the thrills, chills and laughs of the film that will follow. But the “Raiders” opening did greater than that: it set a template for the “Indiana Jones” sequence — and for the thrill-ride blockbusters of the Eighties and past.