The Fugitive: An Analysis of Narrative Devices, Conflicts, and Resolution
David Weiss, HUM160-N01, July 20, 2002
Part One: Director & Writer
The Fugitive is one of director Andrew Davies' masterpieces, in which he collaborated with screenplay writers Jeb Stuart and David Twohy. Davies has had a handful of successful movies to his credit: Above The Law (1988), the original Under Siege (1992), and A Perfect Murder (1998). He has also done a few pictures that had a lot of potential, but for various reasons did not do as well. An example is his entry this year [2002], Collateral Damage, with Arnold Schwarzenegger. The screenwriters have similar hit and miss histories: David Twohy with such films as Terminal Velocity (1994), Waterworld (1995), G.I. Jane (1997), and Pitch Black (2000); Jeb Stuart with the original Die Hard (1988), Vital Signs (1990), both 48 Hours films (1982, 1990), and Fire Down Below (1997). Andrew Davies has worked with many talented actors and actresses including Morgan Freeman, Harrison Ford, Tommy Lee Jones, Gene Hackman, Viggo Mortensen, and Chuck Norris. Davies seems to especially like working with Steven Segal, as he has done two major films with him, Under Siege (1992) and Above the Law (1988), and who is also working with Davies on Under Siege III (2003).
Part Two: Narrative Devices
The classic overriding narrative element of Equilibrium and Disruption is used quite blatantly in The Fugitive. It takes the form of a few different devices though the film, but the basic foundation of these devices stays very obvious. Among these are Problem Solving, Flight and Pursuit, Journey, and Reclamation of Identity. Each of these works hand in hand with the other, eventually returning to the equilibrium, or at least a sense of normalcy and resolution.
Problem Solving quickly becomes the driving force in this narrative. The two major problems are: Dr. Kimble's (played by Harrison Ford): struggle with his wrongful conviction in his wife's murder, and his death sentence; and the need to find and bring to justice the true murderer. He initially does not have anything he can do about it, but when the convict bus is sabotaged by some of his fellow prisoners, he has his chance to start solving these problems. This is the drive behind the rest of the narrative, but it takes on several other guises before it is resolved.
Flight and Pursuit is the next device to be used. This device is assumed so that the problem solving can be continued. If Kimble does not flee, he will once again be trapped and unable to continue attempting to resolve his problems. This is the most prevalent form of the device for some time, while he is evading capture, and literally fleeing from Deputy Gerard's pursuit.
Once Dr. Kimble has run far enough and smart enough to take a breath, the narrative takes on more of a Journey feel, and Kimble is more deliberate in his action. His activities are still tense, and he is very alert; but he now has a goal beyond simply evading capture: he is hunting his wife's killer. The hunted is now the hunter, and if he succeeds in finding and identifying his prey, he will not have to worry about becoming hunted himself again.
Dr. Kimble, after the journey phase, is once again fleeing, but now is also pursuing his key to being acquitted, and to the reclamation of his identity. He is more the hunter now instead of the hunted- he has found the one-armed killer of his wife, and the killer's accomplice; and he will pursue them relentlessly until he catches them and exposes them for what they really are. When he finally is at the point of catching his tormentors, who were only after money, he also finds that the other problem of proving his innocence is solved as well. Deputy Gerard finally sees Dr. Kimble's innocence, and Dr. Kimble is given back his unblemished identity.
Part Three: Conflict
There are several conflicts at work in different levels of this film, but each of them has some type of contact with Dr. Kimble. The main conflict in the film is between Dr. Kimble and Deputy Marshall Gerard. Kimble, in his short, poignant exchanges with Gerard, has a mental conflict quietly raging with this man who, by environment, is his adversary. The foundation of this conflict is Gerard's indifference to Kimble's innocence or guilt, and Kimble's passionate feelings about it. Eventually Gerard begins to care, but the signs are subtle.
Part Four: Resolution
We see the resolution at the end of the film when Gerard reveals that he has faithfully searched for the truth in Dr. Kimble's case, which was not his job. He found that Dr. Kimble really was innocent, as Kimble had vehemently told him on their first meeting. There is also a hidden conflict between Dr. Kimble and Dr. Nichols. This is one that you have to watch the film twice to see, but one that is definitely there. It is this conflict that acted as the catalyst for the film's entire story: Nichols framed Kimble for the murder of his wife. Nichols wanted Kimble out of the way for a planned business venture because Kimble knew something that would prevent the venture from succeeding. The ending conveys the impression that Kimball's freedom is based not only on his determination to find the truth but on the help of his friends and Gerard's commitment to the truth.