By the time the Indiana Jones and the Temple of Doom came out in 1984, the dominance of the multiplex was really starting to take hold. The sequel opened both at the big single-screen Flint Cinema where Raiders played, but it also opened at a suburban multiplex (the Genesee Valley Theaters) that was much closer to our family’s home. This was the same release pattern that was used for Return of the Jedi the year before. My sister and I saw Jedi at the first after-school matinee at the multiplex and then saw the film again that weekend in the better 70mm 6-track Dolby presentation at the Flint Cinema.
We had expected to follow the same basic pattern with Temple of Doom, which was also opening the Wednesday before Memorial Day, a week or so before school let out for the summer. Much to our surprise, my father had other ideas. At the time, the local newspaper in Flint came fairly late in the afternoon. After work, my father was looking through the paper and called my sister and I into the room. He then showed us the full-page ad for the movie that announced a midnight showing that night at Flint Cinema and asked us if we could promise to still get up and make it to school the next day if we all went to see it. Of course, our answer was a definite "yes".
Not being a night person at all, my mother again opted out of the first showing (another good excuse to see the film again soon…), but my father, sister, and I headed out to the theater late that evening. This was my first experience seeing a midnight movie. It wasn’t a sold-out show, but the enthusiasm level of the audience was about as high as it could get. The crowd cheered and applauded at all the right moments and clearly was having a great time. I particularly got a kick out of the reaction to Indy’s entrance. The first time we see the character in this film, he is well-groomed and dressed in a white tuxedo. The audience reacted with applause, although it was a bit restrained and even a little delayed as it took a moment for it to register that it was him. At the end of the prologue, Indy makes a second entrance dressed in his traditional leather jacket, fedora, bullwhip, etc. and that prompted cheers and wild applause.
I obviously had a much better idea of what to expect than I did prior to the release of the first film, which led to quite a bit more heightened excitement about the film, but also a lot less mystery and surprise. What I actually liked a lot about the film (and I’m a bigger fan of it than many people are) was that I felt that Lucas and Spielberg really did find some surprising and unexpected directions to take the movie. Right at the very start, I certainly wasn’t expecting the movie to open with an entire Busby Berkley style musical number. I even recall momentarily wondering if they were running the wrong movie. A lot of people were also put off by the darker tone and overall modified structure compared to the first film, but I felt that it made the movie seem a bit fresher than most sequels. The film was, if anything, even faster paced than the first and, even with the ultra-late showtime, I certainly had no trouble staying awake for the movie. Yes, I did make it through the school day the next day as well.
I liked the film a lot and did see it several times in the theater that summer, but not as many times as the first film. In fact, it wasn’t even really the movie that most dominated my attention that summer. As a 14-year-old boy, I was right in the primary target audience for Ghostbusters, which became my favorite movie of that summer and the one that I gave the most repeat viewing. The Indiana Jones films have overall likely withstood the test of time better over the last 24 years and I suspect most people might even be a bit surprised to learn that Ghostbusters was actually a bigger box-office hit overall that summer. Still, it did play through the whole summer and I do recall several return trips to see it again.
In my post on Raiders, I mentioned that the John Williams score was something of a milestone. While the sequel score wasn’t as much of one, it did come as something of a surprise to me and still remains one of my favorites. The big surprise was Williams’ decision to abandon all of the themes that he had written for the first film with the exception of the iconic Raiders March. At that point, I never really had conceived of a sequel score that would essentially start from scratch instead of further developing the first film’s music. It caught me a bit off-guard, but also appealed to me very much.
I will close with probably the silliest and oddest personal story that relates to this movie. At the very end of the credits is a somewhat cryptic credit that simply says "Thanks to Reed Smoot". Being a couple teenagers, my sister and I both thought that was kind of a funny name and were also intrigued by the mysterious credit. It then became a running joke for the two of us for quite some time, with us often joking about being the only members of the "Reed Smoot Fan Club". Without the vast information available online today, we didn’t have any success finding any information on Mr. Smoot. We were pretty sure he wasn’t the early-20th century Utah Senator that was the only reference we found to the name. I now know that Mr. Smoot is actually a respected cinematographer that is best known for his work on a variety of IMAX features. He apparently did some second-unit photography work on the film, which was the basis of the credit. If Mr. Smoot ever stumbles on this, I hope he doesn’t mind that a couple silly teenagers had some goofy fun with his credit.