In a 1985 interview with Time Magazine, Steven Spielberg noted: “I dream for a living. I use my childhood and go back there for inspiration”. This idea of dreams and imagination is a key contributor to the legacy of Spielberg as an artist. There has been no one that has relied more heavily on the idea of fantasy and all its wonderment (maybe George Lucas) than Spielberg.

His films are about spectacle, wonder and emotion, but yet are defined by a recognizable humanity. His films are about the average human being (the everyman) and their collision with extraordinary moments or situations. According to James Clarke, these moments challenge, test, and identify the everyman who confronts them, and thus becomes consumed by them. As a result, characters learn and are illuminated by their own potential (The Pocket Essential-Steven Spielberg, 2001). Is there any better way to describe the character of Indiana Jones?

The Birth of a Franchise

In the early 1970s, a recent film graduate from the University of Southern California (USC) had a brilliant story idea. An archaeologist, who by day teaches at the local college as a professor, becomes an obsessed treasure hunter determined to capture great historical relics of the world. The idea was awe-inspiring for George Lucas, and he immediately went about fleshing the idea out with the help of fellow writer Philip Kaufman.

Eventually, however, Lucas began setting his sights on another story; a space odyssey adventure film entitled ‘Star Wars’ (1977). As ‘Star Wars’ began to grow into a reality, the story of the treasure hunter began to diminish from sight. Though, as much as he accomplished with ‘Star Wars’, this idea never truly left the mindset of Lucas.

Prior to the premiere of ‘Star Wars’, George Lucas left Hollywood to vacation in Hawaii. As he normally does, Lucas attempts to skip town prior to his premieres in hopes of escaping all of the hoopla surrounding them. Joining him on the tropical island was another young director named Steven Spielberg. Having known each other from the past, the two men were relaxing and building sand castles on the beach when Spielberg nonchalantly remarked that he desired to direct a James Bond film. Immediately Lucas spoke of his idea conceived many years prior. Spielberg, at once, became enthralled with the idea and, in a moment, a powerful collaboration was born.

Indiana Jones is Born

Within three years of this conversation, ‘Raiders of the Lost Ark’ began production. After completing a rough story sketch about the film’s premise, Lucas and Spielberg handed over the task of writing the script to an up and coming writer, Lawrence Kasdan (who would go on to direct ‘The Big Chill’, ‘Wyatt Earp’, and many other films).  Basing his script on the notes from Lucas and Kaufmann, Kasdan went about creating a marvelous and nostalgic script for the film.

Tom Selleck was initially cast as Indiana Smith (later changed to Jones as Spielberg believed that the name was too common). However, Selleck was also beginning work on the television show ‘Magnum P.I.’ which was to commence filming at the same time as ‘Raiders of the Lost Ark’. Thus, the network refused to let him out of his contract, and as a result, Selleck was forced to drop out.

Eventually, Harrison Ford was cast. His name was initially mentioned by Spielberg but Lucas was not keen on working with Ford again (though they did get along, they had already worked on three films prior, ‘American Graffiti’ (1973), ‘Star Wars’ (1977) and ‘The Empire Strikes Back’ (1980)). After considerable prodding by Spielberg, Lucas eventually gave in and hired Ford to portray the wise cracking, accidental hero.

The Adventure Film

An adventure film is defined as such: “films which focus primarily on physical activity rather then characterization. They depict a protagonist’s struggle against life threatening obstacles in pursuit of some goal” (The American Film Institute, 2002). A typical trait of the adventure film is also its emphasis on men dominating the action. Women tend to play the love interest or the accomplice in this genre, and are rarely depicted as strong and resourceful.

However, this idea of the weakened heroine is completely undermined in ‘Raiders of the Lost Ark’. Karen Allen as Marion Ravenwood is not your archetypal girl-in-distress caricature, but rather is a physically capable woman (most of the time) who can defend herself and rely on her own ability (rather then wait for the hero to rescue her.)

For the most part, though, the stories of Indiana Jones are paying homage to the classic Saturday morning serials of the 1930s. Having grown up watching these as children, Lucas and Spielberg both felt a duty to pay tribute to the genre. In basic terms, a Serial consists of a lengthy sequence of melodramatic, action-filled episodes that are shown in installments to entice audiences to return to the movie theatre on more than one occasion (A.F.I., 2002).

As a result of their infatuation with serials, Spielberg and Lucas single-handedly reinvigorated the stale adventure film genre. Through ‘Star Wars’ and the ‘Indiana Jones’ franchises, adventure films were once again fun-filled escapism to be embraced by the entire family.

Some may say that the ‘Indiana Jones’ series lacks depth, and that it solely relies on the merit of action and adventure. In retrospect, who truly cares if this film is based on superficial merit? The film is meant to entertain as films once did in the past.

Some may also say that Lucas and Spielberg have ruined film as an art form, but they would be wrong. Rather, they have rekindled the joy and adventure (through fantasy) that once lived within the impressionable hearts of us all.

The Film Studies Dictionary defines action films as: “fast-paced narratives which feature a lot of violence and physical action such as chases, fights, stunts, crashes and explosions, and where action dominates over dialogue and character (Barry Grant, 2001). The action film has existed in America since the beginnings of cinema and truly has enjoyed a robust career over the decades.

However, the action film truly became a genre of its own during the 1980s. Gone were the days of the character driven art film that came to define cinema in the 1970s. The 1980s were a new decade and thus needed an invigorated identity. As a result, the action film became the symbol of a new United States of America.

Film in the 1970s

Society had undergone tremendous change during the 1960s. Revolutions, the struggle for equality and war dominated the landscape and altered society in an un-American way. Society was growing weary of the conflicting nature of government officials and, as a result, rebellion and violence against government formed establishments escalated. As times grew bleaker and solutions seemed unreachable, society seemed to be on the verge of complete annihilation.

Then the 1970s arrived. Vietnam was still a reality and scandals (Watergate) and the threat of impeachment ran rampant throughout the White House resulting in the eventual demise of President Richard Nixon. Society was continuing on in its tailspin and there appeared to be no escaping the reality that the country was falling apart.

Thus films began to take on an identity of their own. Gone were the days of the Utopian-oozing Hollywood extravaganzas (My Fair Lady-1964, The Sound of Music-1965, etc.). Society wanted reality and the films prominent during this decade attempted to mirror the confusion, angst and disillusionment that came to define Americana in the 1970s.

Rarely were there any forms of hope in these films. Films such as Five Easy Pieces (1970) and Taxi Driver (1976) were all about the loss of self in an ever changing world. There was no longer a defined ideology to lean on. These were now the days of the ‘every man for himself’ mentality. The establishments that society had placed their trust in had collapsed and civilization neared the brink of all out anarchy.

Film in the 1980s

The 1960s and 70s had been strenuous on the fabric of American society, so what better way to go about creating change than to elect a former Hollywood actor as President.

The 1980s needed revitalization.

Ronald Reagan did bring great change to America. In fact, Reagan pursued policies that reflected his personal belief in individual freedom and the United States economy. He wanted to aid in the restructuring of the once heralded nation and reinvigorate the individual as a necessary part of that change. Thus Reagan went about expanding the military while simultaneously telling people to feel good about themselves again.

Being a former actor, Reagan had been inspired by the simplistic mythology of movies: good triumphs evil, might is right and true love lasts forever (The Movies of the Eighties, Base, 1990). Regan was smart. He understood the importance of American cinema and how it could be used as an inspirational tool.

In the 1970s, two films went about changing the landscape of cinema forever. Jaws (1975) and Star Wars (1977) ushered in a new form of entertainment. As the 1970s character driven films declined in appeal, the blockbuster film emerged as a powerhouse (which is still prominent today). Films began to stress the importance of the individual and his crucial role in the world. As is the case with Star Wars, a young farm boy, Luke Skywalker, uncertain of his place in the galaxy desires to be something more. Through uncertainty and eventual acceptance, Luke becomes the savior of the universe.

The individual taking control of his destiny was an inspiring message for society. They were not just faceless human beings. They all served a purpose and if they chose to follow their aspirations, great things would ensue.

Rambo and Commando

The American morale was now reinvigorated, but the question was how to continually convey it.

There was a solution, though.

Through the means of film, the importance of the individual and what he could do for his country were consistently reinforced. As a result, an extremely right wing mentality began to form within the mindset of the heroic individuals in film. If one wanted something then one had the power to achieve it.

Characters such as Sylvester Stallone’s John Rambo, Arnold Schwarzenegger’s John Matrix (Commando-1985) and Bruce Willis’s John McClane (Die Hard-1988) all became idealized heroes who overcame their inabilities as individuals and persevered as American heroes (of note, it is interesting that all three names represent the All-American, everyman name of John).

During the 1980s, most American action films were about the destruction of enemies threatening American soil. In a theoretical sense, these films were an expression of American ideology regarding politics and gender. It was about the reassertion of male power and privilege during and after the Reagan administration (Film Studies Dictionary, 2001).

Thus one could understand the character of John Rambo more as a product of political undertakings than as an individual in his own right. In Rambo: First Blood Part 2 (1985), the character of John Rambo was a product of the Reagan years and actually served as a substitute for U.S. victory in the Vietnam War (Base, 1990). By wrapping himself in the American flag (and destroying an Island of Vietnamese single-handedly), Rambo became a symbol of hope and understanding for Americans.

The 1980s action films are not great (there are exceptions) but they serve a political purpose. They helped to re-establish the American identity (Fascist as it may be in this case) and to create hope for the individual. Through the strengths of the everyman, freedom and peace re-emerged through the use of the machine gun.

Heath Ledger as The Joker

From the moment it appeared on screen, a tantalizing amount of contemplation and anticipation began to mount. It was simply a card but yet it was a statement that resonated deep within millions of avid fans. In most card decks, this is the card that is usually omitted from play, of course, unless it is meant to be wild.

Heath Ledger vs. Jack Nicholson

Batman Begins (2005) ended with an insurmountable bang that shook the foundation of mythic comic book films. When Lieutenant Gordon reveals to Batman the presence of a new and dangerous entity named simply as The Joker, audiences around the world let out a collective gasp of excitement while maintaining a simultaneous sense of uncertainty. You see, many people have grown up with Tim Burton’s 1989 classic Batman, and to them the presence of Jack Nicholson’s Joker is the epitome of what the character is and shall ever be remembered as. So, after the card is revealed during the closing minutes of Batman Begins, one’s initial hesitation to jump for joy was clearly an understood reaction. Nicholson had done such a tremendous job with the character that, in a sense, it would seem blasphemous to ever want to try and confront it again.

When it was announced that Heath Ledger was to take on the role made famous by Nicholson, many eye brows must have ascended in height. The rumored idea that Sean Penn may portray him or even Nicholson himself returning to the role seemed more of an obvious choice then the participation of Heath Ledger. This writer’s first thought was of the Australian’s performance in the 1999 film 10 Things I Hate About You, and how he seemed too innocent and sincere to ever take on a role as challenging and multi-layered as the enigmatic Joker.

However, after initial trailers began to pop up during the end of 2007, this writer knew that the filmmakers had chosen the right thespian for the job. His performance was going to be nothing like the (slightly) campy, over the top buy yet highly entertaining Joker inBurton’s comic book contained Batman. Instead, The Joker seemed to be an unrelenting, manipulative psychopath with no compassion for understanding the simple needs of others. Whereas Burton’s and Joel Schumacher’s Batman films eventually became camp parodies of themselves, Christopher Nolan (the director of Batman Begins and The Dark Knight) took the character of Batman and gave him true origins and meaning. The film was serious in tone, and realism seemed to be a viable commodity sought by the director. In the end, it worked and thus rejuvenated the stale Batman franchise.

Creating a New Joker

The Dark Knight goes to even further lengths to express a sense of realism. Yes it is a comic book film, but yet it strives to rid itself of its comic book origins in order to convey an understanding that this could happen anywhere in present day society.  Thus, in order to maintain a sense of realism, the characters have to appear authentic. Batman is an alter ego to the highly conflicted Bruce Wayne because he finds solace in the form of a creature that frightened him as a child. His motives and intentions are genuine and sincere which thus allows him to be understood as a real human being.

So, there was definitely a challenge for Heath Ledger in taking on this role. He had to be able to embody the over-the-top antics of this troubled individual, but yet make his actions seem sensible enough to seem plausible to discerning audiences. Ledger knew that Nicholson had basically made The Joker his own in 1989, so the character had to become something completely different.

Heath Ledger’s Performance

To sum it up, Ledger does overcome this seemingly insurmountable challenge by truly making the character his own. There is no comparison between his Joker and Nicholson’s. Nicholson’s was memorable but one never felt a true sense of fear when he appeared on screen. When Ledger is on screen, he is magnetic. He steals the film. He is unpredictable but yet compelling. He is amusing but yet frightening. There is such a tremendous amount of diversity conveyed through his acting talent that the character of The Joker can be read in many alternate ways. He is so fully dimensional that to try and define him one way would be a mistake. He is who he is and, as a result, it becomes one of the most memorable screen performances of all time.

It is not simply the way the dialogue is delivered, either. To truly gain a sense of Ledger’s acting capabilities is to watch his mannerisms. The darting, unfocused eyes, the constant licking of the lips, the hypnotic but yet eerie bellow of laughter that resonates from his soul. His tangled and greasy hair defines him as a man unconcerned with appearance, but rather as an individual obsessed with undermining the social structure of balance and superficiality. He is unashamed with who he is because he refuses to allow codes and rules to define him as a human being. He lives to disrupt meaning and to create tension within a structurally obsessed culture.

The Joker has always been one of the most reviled and yet admired characters in fiction. In a sense, The Joker is a contradiction. He finds humor and laughter in the face of death and suffering. He is psychotic but yet Ledger never allows him to simply become read as a one-note psychopath. To create such psychological depths within the mind of a vile entity such as The Joker is a testament to the acting talent of Heath Ledger. Ledger’s performance is larger then life and, as a result, becomes the most memorable interpretation ever of this tragic and sadistic clown.