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In Cannes, Harrison Ford Bids Adieu to Indiana Jones

The 76th Cannes Film Festival - Photocall for the film "Indiana Jones and the Dial of Destiny" Out of Competition - Cannes, France, May 19, 2023. (Reuters)
The 76th Cannes Film Festival - Photocall for the film "Indiana Jones and the Dial of Destiny" Out of Competition - Cannes, France, May 19, 2023. (Reuters)
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In Cannes, Harrison Ford Bids Adieu to Indiana Jones

The 76th Cannes Film Festival - Photocall for the film "Indiana Jones and the Dial of Destiny" Out of Competition - Cannes, France, May 19, 2023. (Reuters)
The 76th Cannes Film Festival - Photocall for the film "Indiana Jones and the Dial of Destiny" Out of Competition - Cannes, France, May 19, 2023. (Reuters)

As the Cannes Film Festival crowd stood in rapturous applause, a visibly moved Harrison Ford stood on the stage, trying to keep his emotions in check.

The warmth of the audience and a clip reel that had just played had left Ford shaken.

"They say that when you’re about to die, you see your life flash before your eyes," he said. "And I just saw my life flash before my eyes — a great part of my life, but not all of my life."

If last year's Cannes was partially defined by its tribute to "Top Gun Maverick" star Tom Cruise, this year's has belonged to Ford. This time, it's been far more poignant. Ford, 80, is retiring Indiana Jones, saying goodbye to the iconic swashbuckling archeologist more than 40 years after he first debuted, with fedora, whip and a modest snake phobia.

It's been a moving farewell tour — most of all for Ford, who has teared up frequently along the way. Speaking to reporters Friday, Ford was asked: Why give up Indy now?

"Is it not evident?" he replied with a characteristically sheepish grin. "I need to sit down and rest a little bit. I love to work. And I love this character. And I love what it brought into my life. That’s all I can say."

"Indiana Jones and the Dial of Destiny," the fifth Indiana Jones film, premiered Thursday night in Cannes, bringing an affecting coda to the franchise begun with 1981's "Raiders of the Lost Ark." While that film and the next three were all directed by Steven Spielberg from a story by George Lucas, Ford's final chapter is directed and co-written by James Mangold, the "Ford vs. Ferrari" filmmaker.

The gala, one of the most sought-after tickets at Cannes this year, also included an honorary Palme d'Or given to Ford. The next day, Ford was still struggling to articulate the experience of unveiling his final turn as Indiana Jones.

"It was indescribable. I can’t even tell you," said Ford. "It’s just extraordinary to see a kind of relic of your life as it passes by."

Following the disappointment of 2008's little-loved "Indiana Jones and the Crystal Skull," the possibilities for a fifth film lingered for years and went through many iterations. Ford said he was intent on seeing a different, less youthful version of Jones. "Dial of Destiny" is set in the 1960s and finds Indiana as a retiring professor whose long-ago exploits no longer seem so special in the age of space exploration.

"I wanted to see the weight of life on him. I wanted to see him require reinvention and support. And I wanted him to have a relationship that was not a flirty movie relationship," said Ford, who stars alongside Phoebe Waller-Bridge. "I wanted an equal relationship."

Ford is clearly deeply pleased with the movie. He was especially complimentary of his castmates and Mangold, whom he said did more than "fill the shoes that Steven left for us."

"Everything has come together to support me in my old age," said Ford with a wry grin.

The movie begins with an extended sequence set back in the final days of WWII. In those scenes, Ford has been de-aged to appear much younger. Lucasfilm chief Kathleen Kennedy was quick to say that an AI-crafted Ford won't be used by the company in the future. Ford called the employment of a de-aged version of him "skilled and assiduous" — and didn't make him jealous.

"I don’t look back and say I wish I was that guy. I’m real happy with age," said Ford. He then added, with an expletive, that it could be worse. "I could be dead."

Ford isn't retiring from acting. He has two ongoing TV series ("Shrinking," "1923") and he said he remains committed to working.

"My luck has been to work with incredibly talented people and find my way into this crowd of geniuses and not get my ass kicked out," said Ford. "And I’ve apparently still got a chance to work and I want that. I need that in my life, that challenge."

Ford, like Indiana, isn't departing without his hat. He's kept one, Ford said, but he more prizes the experience of making the films. "The stuff is great but it's not about the stuff."

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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.