TOO OLD FOR THIS SH*T: Aged Action Heroes, Affect, and “the Economy of Exertion”

Indiana Jones and the Dial of Destiny: The Evolution of Masculinity in Geri-action and Its Implications for Male Hegemony

“…As someone who oversees operations, This highlights the way in which power dynamics are shaped within the context of labor, particularly in relation to age and the significance placed on personal narratives. It not only tells stories about challenging tasks in old age, but also highlights the remarkable determination of these individuals in their later years [9]. During periods of economic downturn, like the early 2000s, individuals might perceive geri-actions as a way to indulge in nostalgic consumption, seeking solace and reassurance.…”

SRK qua Kintsugi: Reflections on the ‘Aging Action Star’ in Pathaan

“…Labour and the 'economy of exertion' (Soberon, 2021) remain sharply in focus in the action sequences of Pathaan -the herculean efforts and strenuous physical tasks that SRK must perform in order to combat the threat posed by his able antagonist, Jim (John Abraham). Physical combat is only a part of the effort that the J.O.C.R.…”

“…In a persuasive reading of affect and ageing male stars, Soberon argues that physical exertion and pain in action cinema can be attributed to the melodramatic scaffoldings of these genres because ‘[I]n melodrama, experiences of pain and suffering are an essential component of hero-hood because moral worth is here measured by the ability to endure and exert action.’ (Soberon, 2021) This is an especially insightful observation when we consider the sumptuously melodramatic registers of Pathaan , where all things professional are also deeply personal. Grewal treats Pathaan as a ‘son’, as do the Afghan villagers; Tiger is a brother, and Jim is a ‘bro’-gone-rogue; Rubai’s entire career as a doctor and ISI agent is a testament to her family’s suffering, and ‘Bharat Maa’ looms large in all negotiations with and against the Indian nation-state.…”

“…And, while a great deal of critical attention has been lavished on Hollywood’s ageing action heroes – Sylvester Stallone, Bruce Wills, Arnold Schwarzenegger, etc. – and their ‘return’ to action in recent years, this body of scholarship has limited purchase when it comes to reading SRK’s action avatar because the current phase is, in a crucial sense, his debut as an action hero, late in his career (Brown, 2002; Evans, 2015; Gates, 2010; Soberon, 2021). It is my contention that although this latest phase of SRK’s stardom is informed by certain key continuities from the earlier, romantic era, other components seem to belong exclusively to SRK 2.0.…”