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Good Adventure Movies (1970-75): Adventure Goes Indie
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Good Adventure Movies (1970-75): Adventure Goes Indie

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Drew Turney itcherWhen Hollywood started to lose its way in the 1970s due to the onslaught of TV and cable, it opened the doors for even more voices in the industry. They weren’t interested in the good guy/bad guy storylines of times past, but the frailties of the human condition and society. As a result, adventure films came to talk about all manner of adult and social issues. ~ Drew Turney

Adventure Branches Out

Barely a decade prior, adventure movies had meant one thing – iron-jawed heroes with no moral grey area rescuing the pretty diner waitress from any number of nuclear-mutated animals, aliens, or commie threats.

But the cinematic scope and emotional breadth of the adventure genre had wound its way into every other genre, and the 70s meant the newly rising independent class was adopting the trappings of the genre.

Auteurs from beyond Hollywood were putting productions together with little (or no) funds. They wrangled amazing visuals and profound performances from name actors to put startling visions on screens.

Amidst it all, thrills and spectacle from the golden era wasn’t forgotten.

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Adventure Movie Recommendations – Traditional & Avant-Garde

‘Aguirre, the Wrath of God’ (Werner Herzog, 1972)

“Our country is already six times larger than Spain, and every day we drift makes it bigger.”

One of the first notable forays into adventure films by a self funded, independent director, ‘Aguirre, the Wrath of God’ marked the beginning of director Werner Herzog’s working relationship with actor Klaus Kinski. It was a relationship that became known for excess, friction, and even violence behind the scenes.

Frequently referenced (it appears in the book ‘1001 Films You Must See Before You Die’ and 2014’s ‘Me and Earl and the Dying Girl’) but little seen, it’s the story of a 16th century South American explorer who loses his mind searching for the lost city of El Dorado.

The insanity found its way behind the scenes, too – monkey and fire ant attacks, the director threatening to murder the star and various other injuries and mishaps on the Peru set are just some examples. The shoestring budget and rapidly disintegrating production were a downfall years before Francis Ford Coppola and ‘Apocalypse Now’.

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‘Solaris’ (Andrei Tarkovsky, 1972)

“Man was created by Nature in order to explore it. As he approaches Truth he is fated to Knowledge. All the rest is bullshit.”

The Steven Soderbergh remake from 2002 starring George Clooney didn’t connect, but that’s only because modern audiences bought up on Star Wars and Marvel didn’t understand the philosophical underpinnings of Tarkovsky’s pondering original.

When an astronaut orbiting the planet Solaris starts to see visions of his dead wife aboard his vessel, he worries he might be losing his mind. But it’s actually the planet itself that reads (and twists) the thoughts of any human being who comes too close.

It’s about the universe looking inward and the fragility of memory and loss – not spaceships, ray guns and creatures.

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‘Beneath the Planet of the Apes’ (Ted Post, 1970)

“That thing out there, an atomic bomb… is your god?”

We all know what happened after returned astronaut Taylor (Charlton Heston) realized what planet he’d really been on all that time (‘God damn you all to hell!’), but what about after?

James Franciscus plays Brent, sole survivor of Taylor’s rescue mission, who finds himself similarly lost on a planet where he’s not the top of the food chain anymore. When he follows Taylor underground, he meets a whole other race of military apes and the last few humans alive, horribly mutated and driven mad from worshipping a nuclear weapon.

The Apes franchise spawned three more sequels (and a reboot that continues to this day).

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‘Papillon’ (Franklin J Schaffner, 1973)

“You keep me alive until we land in Guyana, and I’ll underwrite any escape you care to arrange.”

Based on the true story of a prisoner who spends years in solitary confinement in a prison on French Guiyanan penal island, Papillon (Steve McQueen), befriends a fellow inmate (Dustin Hoffman) and the two escape no less than four times! They’re frequently recaptured and thrown back behind bars over and over again.

Although the plot is pretty episodic, audiences at the time loved the idea of polished Hollywood star Steve McQueen doing some real acting, depicting the famous stud’s descent into weakness and insanity, babbling to the end about being free and prepared to end his life to achieve it.

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‘The Land That Time Forgot’ (Kevin Connor, 1975)

“This U-Boat is now under the control of our enemy, Mr. Tyler. You will obey his commands… for the time being.”

Even as long ago as 1975 this was a nostalgia piece, a throwback to the monster movies of the 1950s with high shutter speeds recording miniature models, hammy acting and dodgy rubber puppets.

It’s World War One and a British ship sinks a U boat, taking the survivors on board and making a wrong turn into Antarctica. They enter the ice through a cave and come out in a verdant, lush forest full of dinosaurs and extinct beasts.

From there, there’s not much story apart from the crew fighting monsters and trying to get away, but it’s all good, clean fun.

It’s also hard to believe this came only two years ahead of Star Wars – the movie that changed special effects and which still stands up today.

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‘Zardoz’ (John Boorman, 1974)

“He who fights too long against dragons, becomes a dragon himself.”

Continuing the theme (along with ‘Solaris’) of adventure cinema as a thinking piece, ‘Zardoz’ makes little sense narratively. You can read any number of social strata allegories into the proceedings, but it deals with a man (Sean Connery, desperate at the time to shake the legacy of James Bond) from a race of warriors, who finds himself somewhere like heaven where the young, immortal and idle rich make him part slave, part henchman to their whims.

Written and directed by John Boorman (‘Deliverance’), it’s an example of imagination gone wild, where the adventure genre is visible everywhere, from the costumes to the production design and to whatever passes for a story. This movie helped signal the onset of a new direction for the genre.

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When the Light Flickered Out

Film in the 1970s turned dark and morally ambiguous, and many adventure films would take up the mantle. Their storylines were more complex and their characters less idealistic, but they were aided by adventure genre visuals that continued to evolve and improve.

What are your 70s adventure faves?

Let us know below!

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