Action and adventure have long been features of American and other national cinemas. Associated with tales of exploration and discovery, as well as thrilling scenes of battle, violence and chase, action and adventure films are not limited to any particular historical or geographical setting. Indeed, the basic elements of conflict, chase and challenge can be altered in any number of different directions. Thus, action and adventure as cinematic forms are constantly in the process of redefinition, manifesting themselves over time in many different genres and sub-genres. Nevertheless, it is useful to distinguish between the two terms and the type of cinema to which they refer, as “action”, “adventure” and “action-adventure” are all descriptors with different valences. With this in mind,series and adventure narratives . Action involves a certain kind of scene or spectacle (explosions, chase, fight); adventure, on the other hand, implies a story (usually, though not always, a quest narrative) that is often set in a fantastical or exotic location, such as the search for mythical objects or treasure in films such as King Solomon’s Mines (1950) and Raiders of the Lost Ark (1981).
Action and adventure are a key component of early and silent cinema. At a relatively early stage in the history of cinema, elements of chase and pursuit were developed into mainstream narratives through innovations in editing evident in such important cinematic reference points as The Great Train Robbery (1903) in the United States and The Daring Daylight Burglary (1903) in the United Kingdom. Both names include the crime, some form of pursuit and the eventual capture of the respective thieves by the forces of law. The sensational appeal of crime and chase remained evident throughout the silent era. Film historians such as Richard Abel and Ben Singer have done much to delineate the appeal of sensationalist cinema of the period, pointing out that what we now commonly call “action” was framed in the silent era as a form of popular melodrama with scenes of danger, chase, villainy and rescue, forms that derived in part from spectacular theatrical traditions. These basic elements of chase and pursuit were also given a comic touch in the hugely successful Mack Sennett Keystone productions, especially through the antics of the “Keystone Kops”.
When silent cinema reached maturity in the United States, the most prominent action star of the period was undoubtedly Douglas Fairbanks (1883-1939), who defined both historical adventure and spectacular action for the silent era. Following his unexpected success with The Mark of Zorro (1920), which departed from the star’s established association with comedy, Fairbanks appeared in a series of costly performances that showcased his athleticism and physical strength, including Robin Hood (1922) and The Thief of Baghdad (1924). The latter, directed by Raoul Walsh, is an epic fairy tale film with extravagant sets and breathtaking choreography. The film follows Ahmed Fairbanks from the life of a thief on the streets of Baghdad through various adventures that end with his redemption through love and heroism. Rudolph Valentino (1895-1926), a contemporary of Fairbanks, was also associated with exotic adventures in films such as The Sheik (1921) and his last film, The Son of the Sheik (1926). Fairbanks trademark. Despite the differences, dance unites them in “The Thief of Baghdad”.He was clearly influenced by modern dance styles, and Valentino is closely associated with the ethnic eroticism of the tango. Both stars are analyzed in “This Mad Masquerade” by Gayleen Stadlar, who explores their images within the evolution and changing discourses of American masculinity of the time. Their different images underscore the central role of the star’s body in action and adventure films: as a form that foregrounds the body in motion and in combat, action and adventure cinema promotes physical (often sexualized) images of heroism that oscillate between the poles of aggressiveness and grace.
Despite Valentino’s lack of cultural visibility as a star, the “serial queen” attracted critical attention as a hugely popular site of action and spectacle during the silent era. As Singer points out, serial star Pearl White (1889-1938) was a hugely popular performer, in box-office serials such as The Perils of Pauline (1914), demonstrating the connection between fearless action heroines, modernity and early cinema. Jennifer Bean explores such connections with the long-running series The Perils of Helen (1914-1917). She identifies the railroad and other modes of transportation as an important source of cinematic excitement in these films and as a marker of the imagined speed and precariousness of modern life. The central role of female performers in action and adventure in the silent period, albeit in the less prestigious form of the serial, frames the critical interest in contemporary Hollywood action heroines.