Amid his third decade as a premiere movie star in Hollywood, Harrison Ford could seemingly do no wrong. With two bankable franchises in Star Wars and Indiana Jones, steady excellence in elevated auteur-driven thrillers such as Witness and Presumed Innocent, and a charming force in comedies such as Working Girl, the star offered something of irresistible value on his resume. In 1993, a familiar cat-and-mouse thriller adapted from a 1960s television series came along. The Fugitive, it turned out, was one of the most expertly crafted Hollywood blockbusters in recent memory, a type of movie that Hollywood doesn’t make anymore. Not only was this film a thrill ride, but it manipulated the actor’s beloved stardom and screen persona with the aid of an unlikely co-star and counterweight.
Following the same premise as the original TV series of the same name, The Fugitive, directed by Andrew Davis, is about Dr. Richard Kimble (Ford), a surgeon wrongfully accused of murdering his wife, who is on the run from the law after the bus transporting him to prison is involved in a crash. He is chased by a resolute and shrewd U.S. Marshal, Sam Gerard (Tommy Lee Jones). The film’s theatrical poster exclusively lends placement of name and appearance to Ford.
Jones, whose recognition and appeal at a mainstream level skyrocketed after winning Best Supporting Actor for his work as Sam Gerard, was an unlikely figure to face off against the man behind Han Solo. Despite being more of a gruff character actor, Jones was vaulted to leading man status as a result of his Oscar victory. Similar to how Men in Black capitalizes on the odd-couple dynamic of him and Will Smith, Jones and Ford counter each other in a manner smarter and more nuanced than anyone expected from a blockbuster thriller.
While certainly an uncommon occurrence from the Academy to honor a performance from a genre picture, Jones’ Oscar was earned on the backs of the tight-rope walk the actor perfected in his performance in The Fugitive. Its appeals to traditional mainstream action entertainment aside, the film is favorable to a grounded approach, thanks to the guise of Andrew Davis’ direction fixated on trauma and personal redemption. In The Fugitive, Ford’s iconography is actively recalibrated in the film. By the time Gerard is in arms-reach of placing Kimble into custody, the doctor is vindicated, as the true perpetrators of the crime are arrested. At the end of the day, this speaks to the movie star effect.
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