With the arrival of Point Break in 1991, new paths were opened in the action genre on the Hollywood scene. During the 1980s, the universe of action heroes revolved around a small group of figures led by Sylvester Stallone and Arnold Schwarzenegger. Kathryn Bigelow’s film introduced a character with new codes that, although it takes elements of the classic action figure, adds fresh touches and language that helped with the transition to the new action cinema of the 90s. Point Break would come to compete on the summer billboard with movies like Terminator 2 and Double Impact and pit a young Keanu Reeves against Schwarzenegger and Van Damme.
Point Break’s story revolves around the character of Johnny Utah played by Keanu Reeves, a young FBI agent who along with veteran Angelo Pappas, played by Gary Busey, have a mission to stop a gang of bank robbers. The cunning criminals use disguises as former US presidents to commit their misdeeds and for years they have evaded justice. The head of the gang is a risky adventurer known as Bodhi played by Patrick Swayze.
Point Break has a classic outline of the action genre movies. In the initial sequence, a parallel montage introduces the character of the protagonist and the antagonist, each one in their respective worlds and highlighting their skills. As is customary in these films, the introduction of the secondary characters comes to us in a stereotyped way, the hateful superior of the rookie agent who gets irritated by everything, the veteran partner who becomes a friend and guide, the female character who we know will be the sentimental interest of the protagonist and the charismatic villain with overtones of an antihero.
The universe of Point Break
The main pillar that sustains Point Break and that has allowed it to remain relevant over time is the chemistry between Keanu Reeves and Patrick Swayze. Both Johnny Utah and Bodhi were born to be immortals on the big screen. Both of their performances are impeccable, and their on-screen moments are truly electrifying. Another factor that we cannot ignore is the formidable direction of Bigelow who masters each sequence with great precision and manages the level of detail to create perfect frames. The hectic pace is achieved thanks to the great handling of the camera by Donal Peterman (Flashdance, Get Shorty).
The sequence that consecrates Bigelow and elevates Point Break to the Olympus of action movies comes in the third act of the film. Johnny Utah and Angelo Pappas brainstorm where the robbers’ next hit will be, and their anticipation puts them in the right place at the right time. Here a car chase is generated that ends with one of the thugs using a fuel hose as a torch to give the cinema one of the most memorable frames in film history. Immediately afterward, our endearing protagonist frantically chases the leader of the gang who tries to run away through the streets of Los Angeles. Peterman’s camera becomes the best ally of the director who conceives a complex scene full of brilliant details that culminates with another iconic moment of cinema.
Point Break does not deny its nature and even though its story touches on some interesting social and human behavioral subtexts, what makes it great is its focus on action and giving the audience a moment of escape and disconnection. S5l.u impact has made it part of popular culture.