The new Indiana Jones is really about Helena, a person from the real world who is drawn into the fantasy world of Indy’s treasure-hunting adventures.Ĭhristopher Nolan’s Oppenheimer complicates this idea of venturing into reality. But Helena is neither a sex symbol nor an exemplar of woke attitudes towards gender: she simply introduces an element of everyday opportunism combined with basic goodness – a touch of what might be called actual life. Many of the reviewers’ most ferocious broadsides have been aimed at the character Helena (played by Phoebe Waller-Bridge), who has been variously presented as weird (measured against classic Hollywood standards of beauty and eroticism) or “woke”, a leading lady who undermines patriarchal clichés of feminine charm. Forced out of ancient Greece, the hero-professor now faces a life of arid domesticity.
This happy resolution, however, doesn’t quite conceal the bitter implications of the film’s conclusion. Waking up in his apartment, Indy is reunited with Marion, and they embrace as Helena walks away smiling. But Helena, refusing to give up on him, knocks Jones unconscious and returns with him to the modern world. Believing that he has no life to return to in 1969 America, Jones wants to remain in the past, living amid a great historical moment. In the film’s climactic scene, Jones and Helena are transported back to the Siege of Syracuse in 212 BC, where they meet the astronomer Archimedes, who invented the time machine. Estranged from his wife, Marion, and depressed following the death of their son, Jones is assisted by his goddaughter Helena, as they are pursued by a new generation of Nazis who also seek the Dial. Set in 1969, the story centres on Jones’s efforts to locate an ancient device – the Dial – believed to grant the power of time travel. Denounced and ridiculed by critics, Indiana Jones and the Dial of Destiny – the fifth and final instalment in the franchise – nonetheless confronts one of the central problems of modernity: the separation of fantasy and reality.
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