Tomb Raider (2001)
Director: Simon West
Starring: Angelina Jolie, Iain Glenn, Noah Taylor, Daniel Craig, Jon Voight
Primary genre: Action
Secondary genre: Adventure
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With the massive success of Eidos’ “Tomb Raider” in the mid nineties, it was a matter of time before Hollywood would come knocking. After a lengthy and chaotic production that involved more or less eleven (so to speak) screenwriters and aspiring storytellers, the bizarrely (?) titled “Lara Croft: Tomb Raider” (as if people were unaware off Lara at that point) was ready. Featuring the flawless casting of Angelina Jolie (with a pretty solid British accent too), the PR department ticked all the right boxes.
In certain aspects, time has not been kind to “Tomb Raider”; it sincerely feels the biproduct of the new millennium and the post-”Matrix” success bearing elements of a semi-outdated soundtrack and attention-catchy action sequences linked together by the minimum of story threads. Its behind-the-camera problems prevent “Tomb Raider” to properly lay out a plot and stakes bearing poorly integrated flashback scenes (rumors persist that Simon West was locked out from the editing room), awkward cuts, bizarre stylistic choices and a mish-mash of ideas that flirt occasionally with pointless mysticism make no sense. Lara is never really introduced as the actual heroine that needs to stops the ominous Illuminati from obtaining the Triangle of Light. Once the hunt is on, it occurs simply because of Lara and if she would just wait for a week, the world would have been safe for another 5,000 years.
Yet the script is pushing for an inevitable confrontation with this perilous society whose plans and motivations are never explained in a globe trotting adventure. When the climatic showdown happens, it ends just as it quickly arrives by lame story-based choices that cause frustration. The interesting dynamic between Lara Croft and chief henchman Manfred Powell is amusing and Iain Glenn seems to relish his character in visual layers of panache but he never gets fully explored to provide appropriate pathos.
“Tomb Raider” is far from the disaster that many predicted (or hoped for) though. It gave us a proper Western action female hero that yes is gorgeous to look at, convincingly athletic and can kick all types of ass (Jolie did quite a few impressive stunts herself, an uncommon feat in Hollywood back then) without all the woke brigade behind her. She is sexy, savvy and smart and she knows it. More of a thrill junkie and less of an archaeologist, Jolie is utterly convincing (even if the forced(!) breast augmentation thing that she wore is very distracting in high definition) clearly having fun around all the boys. The supporting cast (including her own father Jon Voight) is solid too although they rarely escape from the limited role of the walking exposition.
What truly saves “Tomb Raider” are its production values. Excluding some early noughties (and rushed) CGI, its exquisite production design dwarfs even the most expensive blockbusters of that era. The scope is epic, packed with stunning details and one can feel the ominous presence of the Stone Monkeys in the Cambodian temple, witness the expensive halls of Lara’s home, appreciate the stratospheric mysticism of the Siberian cave or admire the renaissance throne room of the Illuminati in Venice. Shooting in location bring gravitas to this silly story too and Simon West makes the most of beautiful and exotic vistas and his direction of four big set pieces including an eerie alive statue face off is chaotically (but clunky) fun under an expansive soundtrack featuring all the big names of that era (e.g., Basement Jaxx, Fatboy Slim, Missy Elliot, U2). Credit should also go to Graeme Revell, an under-appreciated and talented composed who crafted a score of loud choral work, Asian ethic instrumentations and electronic sounds within ten days(!) that fits like a glove to the proceedings even if it gets lost in the tight running time of 90 minutes and a plethora of catchy songs.
“Tomb Raider” can be frequently revisited in order to feast upon the gorgeous Angelina Jolie as Lara Croft. While her take on the famous videogame icon might have more things in common with James Bond as opposed to Indiana Jones, Jolie was born to play this role and keeps thing going. The action is breezy and the film offer more than often plenty of eye candy. However, this lavish production and its committed star are betrayed by behind the scenes Hollywood shenanigans. While fun to watch, the lack of actual stakes diminish any emotional investment. A script along the “Indiana Jones” treatment, would have rendered this a classic and open the door for more Western female action heroes. Until the arrival of “Kill Bill” (2003-2004) that is.
A+ production, C+ execution
+Jolie is perfect
+Stunning production design
+Great locations
+Solid score by Revell
+Interesting antagonist
+Fun action sequences
-Non existing script
-Clunky execution and editing
-One dimensional supporting cast
-Tones of expositions
-Occasionally dated CGI