Jewel of the Nile (1985)

Following the surprise success of Romancing the Stone (1984), a spirited action-romance adventure in the vein of Indiana Jones, it was inevitable that a sequel would follow. Enter The Jewel of the Nile (1985), which reunites the dynamic trio of Michael Douglas, Kathleen Turner, and Danny DeVito for another globetrotting escapade.

While the sequel retains much of the charm, energy, and chemistry of the original, it also falls prey to the common pitfalls of rushed follow-ups—namely, a thinner plot, uneven tone, and a less cohesive direction. Still, for fans of the original and of light-hearted adventure cinema, The Jewel of the Nile remains a watchable and often entertaining ride.

Plot Summary

Set six months after the events of Romancing the Stone, the film picks up with romance novelist Joan Wilder (Kathleen Turner) and soldier-of-fortune Jack Colton (Michael Douglas) living in semi-domestic bliss aboard Jack’s yacht on the French Riviera. Joan, however, is restless and uninspired, longing for a new adventure and deeper meaning.

Her wish is granted when she’s invited by a charismatic Arab leader, Omar (Spiros Focás), to ghostwrite his biography. Joan travels to the fictional North African nation of Kadir, only to discover that Omar is a ruthless dictator who seeks to consolidate power by suppressing a prophetic figure known only as "The Jewel of the Nile."

Meanwhile, Jack and the ever-opportunistic Ralph (Danny DeVito) are drawn into the conflict after Joan is effectively taken hostage. What follows is a series of desert chases, narrow escapes, mistaken identities, and comedic brawls, culminating in a revolutionary uprising and a renewed affirmation of Jack and Joan’s love.

Cast and Performances

Kathleen Turner once again brings brains, heart, and sardonic wit to the role of Joan Wilder. Her transformation in the first film—from introverted writer to courageous adventurer—is continued here, though The Jewel of the Nile positions her more as a person in search of her voice and purpose. Turner imbues the character with emotional depth even when the script sometimes gives her less to work with.

Michael Douglas, reprising his role as the swashbuckling Jack Colton, brings rugged charm and comic timing. Jack is slightly more domesticated here, but Douglas leans into the reluctant hero persona effectively, maintaining the roguish charisma that made him a breakout action star in the original.

Danny DeVito, as the scheming Ralph, provides much of the film’s comic relief. Though his role is again secondary, his knack for physical comedy and exaggerated exasperation brings levity and balance to the film’s more formulaic moments. His interactions with Douglas and Turner feel like comfortable, chaotic sibling rivalry.

Avner Eisenberg, in a standout supporting role, plays the actual “Jewel”—a spiritual leader who is both comic and poignant. His character serves as the moral core of the story and introduces a thematic weight that deepens what is otherwise a fairly breezy film.

Spiros Focás is serviceable as the villainous Omar, though his character is largely one-dimensional. He functions as the standard-issue tyrant, more of a plot device than a fully fleshed-out antagonist.

Direction and Tone

The original film was directed by Robert Zemeckis, who brought a light touch, precise pacing, and emotional warmth to the swashbuckling adventure format. For the sequel, direction passed to Lewis Teague, best known at the time for thrillers like Cujo and The Lady in Red. Teague’s handling of the material is competent but lacks the flair and tonal precision of Zemeckis.

The action sequences are plentiful—featuring desert car chases, explosions, and palace sieges—but they often feel staged rather than inspired. The film occasionally struggles to balance its competing tones: romance, action, screwball comedy, and political allegory. As a result, The Jewel of the Nile feels more like a patchwork than a seamless adventure.

That said, Teague deserves credit for keeping the film moving at a brisk pace and for allowing the cast’s chemistry to shine, which remains the franchise’s greatest asset.

Script and Humour

The screenplay, written by Mark Rosenthal and Lawrence Konner, lacks the tighter plotting and emotional resonance of Romancing the Stone. The dialogue is sometimes witty but often forced, with fewer memorable lines than its predecessor. There are moments of cleverness—especially in DeVito’s rants and Turner’s exasperated comebacks—but the writing relies more on recycled gags and physical humor than fresh insights.

One of the script's more interesting aspects is its subtext about finding “the jewel” within—suggesting that true treasure lies in spiritual enlightenment rather than gold or power. This is personified in the character of the Jewel, who offers wisdom and humanity in contrast to Omar’s militaristic ambition. It's a noble idea, but not fully developed.

Production Values and Locations

The film was shot on location in Morocco, and the exotic locales add visual intrigue. From sun-drenched deserts to bustling marketplaces and ancient ruins, the film looks impressive. The production design and costuming are solid, although some of the cultural portrayals reflect a 1980s Hollywood sensibility that feels stereotypical by modern standards.

The visual effects and stunts are generally well-executed for the era. A scene involving a fighter jet—used in a comedic escape—is both ridiculous and memorable, emblematic of the film’s mix of cartoonish spectacle and improvisational escape.

Music and Score

The score by Jack Nitzsche doesn’t reach the memorable heights of Alan Silvestri’s adventurous themes in the original film, but it’s serviceable. The soundtrack is also notable for including “When the Going Gets Tough, the Tough Get Going” by Billy Ocean, which became a hit in its own right and features a popular music video starring the film’s three leads as backup singers.

Reception and Legacy

Upon release in December 1985, The Jewel of the Nile was a commercial success, though critical reception was mixed. It lacked the freshness and narrative tightness of its predecessor, and some critics lamented its heavier reliance on broad comedy and spectacle over character-driven storytelling.

Still, audiences embraced the return of Jack, Joan, and Ralph, and the film has enjoyed a modest afterlife as a cult sequel—particularly among fans of the trio’s chemistry. While the planned third installment (Romancing the Monkey) was never produced, the two films remain nostalgic favorites of 1980s adventure cinema.

Conclusion: A Serviceable, If Lesser, Sequel

The Jewel of the Nile is a classic example of a sequel that rides the wave of its predecessor’s success but struggles to recapture the original magic. While the film benefits enormously from the charisma of its stars and the romantic-adventure formula, it falters in script quality and originality.

That said, for audiences looking for escapist fun, charismatic leads, and nostalgic ‘80s flair, The Jewel of the Nile still offers a worthy—if uneven—journey through the sands of cinematic adventure. It's not a polished gem, but it still has a sparkle, thanks to the enduring alchemy of Douglas, Turner, and DeVito.