Romancing the Stone

Romancing the Stone arrives before the current age of cultural accounting, a consequence of which is that it commits its sins with a kind of innocent obliviousness. The film presents us with Joan Wilder, a romance novelist who escapes her mundane existence through adventure in the Colombian jungle, and this journey is framed as personal liberation rather than as a vehicle for social commentary of any kind. Kathleen Turner's capable protagonist represents a genuine departure from the passive heroines of earlier adventure cinema, yet the film's progressive gestures toward female agency stop precisely where they begin.

The jungle itself functions as little more than a playground for spectacle, a place where indigenous peoples and local communities exist primarily to furnish comic relief or to mark the passage of time. Robert Zemeckis directs the enterprise with the enthusiasm of a man who has discovered that audiences will watch anything if it moves quickly enough and features sufficient exotic locations. There is no interrogation of why an American novelist should venture into this landscape, no questioning of the colonial assumptions baked into the narrative, no moment of self-awareness about what this adventure actually represents.

The film offers us a baseline, a useful marker of how little cultural awareness was required of commercial cinema in 1984. It succeeds entirely on its own terms as entertainment. The presence of a female lead who can handle herself in a fight was, at that historical moment, sufficient novelty to register as progressive. That the film's consciousness extends no further than this fact reflects the landscape in which it was made.