In our Blue Filter series, we are inviting our writers to reflect on the films that they have connected with through challenging or upsetting times, both during the COVID-19 pandemic and before. In the latest entry of the series, Annabel Smith explores the juxtaposing power between realism and escapism in action-adventure films.
During the pandemic, there was a level of escapism everyone craved. Preoccupying themselves with crafts, home gym workouts, or online courses seemed to be the norm. Instead, I focused on harnessing my already stellar knowledge of action-adventures, particularly ones pre-2005. I have always found they have this transportive quality, and what better time to indulge in them than during a pandemic? I crave the adventure of the protagonist, and the fulfilment that comes with the completion of an action-packed journey. Those iconic figures that hold their own in pop culture allowed me to experience a broad spectrum of emotion—giddiness, celebration and even anxiety (in the name of my favourite character’s near-death situation).
Take Indiana Jones and the Temple of Doom. The second in its franchise, you would consider it an action-adventure at its core. It includes those elements of a race against time, combat sequences with the iconic whip, and those chase scenes where someone is usually shouting “Indie” in panic. It is a guaranteed heart-racing adventure, and those elements of covertness derived from Indiana being an archaeological teacher by day and an adventurer by night are what make him so compelling. It truly allows you to escape reality. Their world is so out of touch with our current one, not only because it was made in the 80s, but with travel restrictions they are literally set beyond our reach (India to be exact). It filled my need for exploration, fun and nostalgia, all while following the iconic Indiana Jones. Watching the helper Short Round and the panicky but persevering Willie Scott never gets old. These action tropes put no limit on the Indiana Jones franchise’s power to compel; bringing comedy, romance, and a touch of panic (for the close-calls facing Indie and Willie). The characters and the otherworldly feel (mostly derived from the stolen ancient stone) make the stakes high, a perfect mix for a true dose of escapism. It allowed me to delve into another exhilarating world, one that I value more every time I watch.
Pirates of the Caribbean: The Curse of the Black Pearl is pure fun and adventure. The clear blue waters and the beauty of the Caribbean islands, reconstructed pirate ships, and the golden trio of Elizabeth Swann, Jack Sparrow, and Will Turner all create a satisfying visual sphere and plot. I feel truly indulgent watching a series of five films, but the first is such an example of working-together and battling the typical ‘bad guys’ that it feels quite therapeutic, and oddly inspirational. It takes you on a ride (like its beginnings, the 1967 Disneyland Paris attraction). I was able to laugh and root for Elizabeth to transform into the pirate she is destined to be, and admire the beauty of the on location filming. There’s predictability in the clear-cut characters: stern, heroic Will Turner, damsel, yet rebellious Elizabeth Swann and morally grey, and comical Jack Sparrow. It is consistently enjoyable for living up to those tropes, whilst being satisfying every viewing for its imaginative narrative. It has so many sequences set on location that allow you to notice something new each time, a script which feels modern and comical even now, and a plot that goes to match.
The Mummy is another film with major visual perks—the pyramids, gruesome mummy sequences and fast-paced chases on horses. It feels out of this world with the supernatural elements, but with the interactions between logical librarian Evelyn and ‘seen it all’ mercenary Richard, it brings enough realism to the plot that you feel swept along for the journey. Although it has an interesting backstory, suspenseful scenes, and great set design (particularly for the 90s), it is the protagonists who are compelling and make it such a comforting watch during any bump in the road. The characters were consistent; Jonathan’s quick-witted comedy, Evelyn’s perseverance, and Richard’s action hero status. They prove timeless in their ability to pull you through an array of feelings—something I love in a film. Their romance only enhances the stakes of the action-adventure, making it a reassuring watch for the performance and the tropes they endure.
The typical key to action-adventure in films pre-2005 appears as two main protagonists with romantic ties. I think the struggle to get along and discover how their relationship works is what really compels me to these adventures. They are not composed robots functioning perfectly off the bat; they shout at each other, panic, but also work together through adversity—something that is really admirable during a time of enforced isolation with not a lot to work towards (unless you consider the Ikea furniture you purchased for a ‘project’). The humanity of these protagonists combined with distant locations and time periods enables a mix of escapism and reality. Action-adventures have consistent tropes of travelling across long distances in a short timeframe, and a whole lot of speed bumps. Those repetitive themes and loveable protagonists (from Elizabeth Swann to Richard O’Connell) mean you are always in for a fun watch, and that consistency is something that’s underrated in a lot of films. They make me recall what entice me to cinema—the transformative quality. The visuality of action-adventures allows me to indulge my escapism whilst appreciating the journey that I do not want to go on (“no thank you” to crossing a rope bridge with crocodiles underneath, I will save that Indiana Jones 5).
Words by Annabel Smith
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