You don’t hear many people talk about Romancing the Stone very much anymore, which feels surprising.
It was, after all, a powerful surprise hit in 1984 which launched the career of none other than director Robert Zemeckis who, just one year later, would go on and develop not just the signature film of the 80’s but one of the most iconic of the 20th century – Back to the Future. Nobody expected this romantic action adventure caper to work, least of all 20th Century Fox, the studio who made it, who, so convinced Zemeckis had delivered a dud, fired him from the Cocoon directing gig in anticipation. Nobody predicted it would romp home at the box office, cement Zemeckis as a major new talent following in the footsteps of his contemporaries Spielberg, Lucas etc… and establish Michael Douglas as a rugged action hero in Hollywood terms.
What’s strange is why the studio, and most people involved, believed this would be dead on arrival. What gave them that impression? It could be an endemic level of sexism given the fact Romancing the Stone is very much angled from the perspective of Kathleen Turner’s heroine, Joan Wilder. Did they believe such a female entry point into the film would alienate a core male audience? Bear in mind how Zemeckis’ film followed in the wake of the hugely successful Raiders of the Lost Ark, which in Indiana Jones and Marion Ravenwood helped re-cement the Golden Age of Hollywood idea of the couple with antagonistic, sparky repartee, only wrapped around an adventure movie style. The Empire Strikes Back, with Han Solo & Princess Leia’s biting barbs courtesy of Golden Age scribe Leigh Brackett, did the same thing.
The difference, perhaps, is that Spielberg and Lucas (by way of Irvin Kershner) approached their movies in this context from much more of a male perspective, certainly in terms of how the studio may have experienced these films during production and test screenings. Unlike Raiders with Indy or even Empire with Luke Skywalker, Romancing the Stone’s central protagonist is unquestionably Joan – it is her journey of fantasy wish fulfilment we follow across the picture, not that of Douglas’ Jack Colton, the Indy proxy of the story, who we don’t even meet until almost thirty minutes into Joan’s story. Douglas may have been a producer on the film but he’s not showy, despite having top billing – he’s aware this is Turner and Joan’s showcase.