#Pizzicato counterpart movie#
The success of Raiders also turned Harrison Ford into one of Hollywood’s major movie icons and furtherly cemented the need of compelling cinematic entertainment from worldwide audiences. With Raiders, the two movie wunderkinds became the kings of Hollywood’s new blockbuster era they serendipitously started six years earlier with Jaws and continued in 1977 with Star Wars and Close Encounters of the Third Kind. It further consolidated the prestige and fame of the two filmmakers who created Indiana Jones: Steven Spielberg and George Lucas. In 1981, Raiders of the Lost Arkbecame the top-grossing film of the year, also garnering eight Academy Awards nominations (including Best Picture and Best Director) and winning five statuettes. On May 23, 1984, after months of high expectations, Indiana Jones and the Temple of Doom opens in theaters across the United States to present the second installment of the adventures of the unlikely but incredibly charismatic archaeologist Indiana Jones. Looking back at the music scores is certainly an exercise worth of time. Marketing considerations aside, this gives an opportunity (or perhaps an excuse) to revisit on aspects of filmmaking that sometimes get lost in the process of talking about movie “factoids” or celebrating mere nostalgia. In the current Hollywood landscape, it’s a quite established practice to celebrate films’ anniversaries pretty much every five years. A look back to John Williams’ lively, exciting score for Indiana Jones and the Temple of Doom on the 35th anniversary of its theatrical release
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