It's actually more than a movie; it's a catalog of adventure. For locations, it ticks off the jungles of South America, the hinterlands of Tibet, the deserts of Egypt, a hidden submarine base, an isolated island, a forgotten tomb -- no, make that two forgotten tombs -- and an American archaeology classroom.

For villains, it has sadistic Nazis, slimy gravediggers, drunken Sherpas, and scheming Frenchmen. For threats, it climaxes with the wrath of God, and leads up to that spectacular development by easy stages, with tarantulas, runaway boulders, hidden spears, falling rock slabs, burning airplanes, runaway trucks, sealed tombs, and snakes. Lots of snakes. For modes of conveyance, it looks like one of those old world's fair panoramas of transportation: It has horse carts, biplanes, motorcycles, submarines, ships, horse, trains, and trucks. No bicycles.

For heroes, it has Indiana Jones (Harrison Ford) and his former and future girlfriend, Marion (Karen Allen). She's the kind of girl ... well, to make a long story short, when they first met ten years ago, Indiana deflowered her, and that made her so mad at men that she moved to the mountains of Tibet, opened a bar, and started nightly drinking contests with the Sherpas. She'll never forgive him, almost.

The time is 1936. Indy is an American archaeologist who learns that the Nazis think they've discovered the long-lost resting place of the Ark of the Covenant, the golden casket used by the ancient Hebrews to hold the Ten Commandments. Indy's mission: Beat the Nazis to the prize. He flies to Tibet, collects Marion and a priceless medallion that holds the secret of the Ark's location, and then tries to outsmart the Nazis. What is a little amazing about "Raiders of the Lost Ark" is that this plot somehow holds together and makes some sense, even though it functions primarily as a framework for the most incredible series of action and stunt set pieces I've ever seen in a movie. Indiana and Marion spend the entire film hanging by their fingernails -- literally, at one point, over a pit of poisonous snakes.

They survive a series of gruesome and dreadful traps, pitfalls, double-crosses, ambushes, and fates worse than death (of which this movie suggests several). And Indiana engages in the best chase scene I've seen in a film. (I include, in second place, the chase from "The French Connection," with "Bullitt" in third.) The chase involves a truck, three jeeps, a horse, a motorcycle, and an awesomely difficult stunt in which a character is required to make a 360-degree turn of the speeding truck. All of these spectacles are achieved with flawless movie technology brought to a combination of stunts, special visual effects, and sheer sweat. The makers of this film have covered similar ground before, if perhaps never so fluently; George Lucas, the executive producer, gave birth to the "Star Wars" movies, and Steven Spielberg, the director, made "Jaws" and "Close Encounters." The rest of the all-star crew's work includes photography by veteran British cinematographer Douglas Slocombe, appropriately stirring and haunting music by "Star Wars" composer John Williams, sets by "Star Wars" production designer Norman Reynolds and art director Les Dilley, and countless wonderments by Richard Edlund, who supervised the visual effects.

ncG1vNJzZmivp6x7s7vGnqmempWnwW%2BvzqZmq52mnrK4v46rmKKclafAbrvFZquhnV2hvLTAjJqppGVhboVy