A really big success in a movie can work two ways for an actor. It can lead to a freeing-up of his choices or it can lead to a well-upholstered captivity in the kind of role he did so smashingly the first time.
Harrison Ford has been trying not so much to make people forget his triumphs as Han Solo in the "Star Wars" trilogy or as Indiana Jones as to remind us all that he can act very well without a laser gun or a bullwhip in hand.
He learned the acting trade through small parts in a succession of unusually interesting films, including "Dead Heat on a Merry-Go-Round"; "Getting Straight"; Michelangelo Antonioni's "Zabriskie Point"; Francis Coppola's eerie essay on the theft of privacy, "The Conversation"; and in "American Graffiti," his first outing for George Lucas. Then came "Star Wars," when all fame broke loose.
Ford couldn't escape adventurous roles, as in "Force 10 From Navarone," but there was also a wartime love story, "Hanover Street," a dimensional character part like the city detective amidst the Amish in "Witness." "There was more than physicality involved. You had a chance to reveal a sensitivity. It's nice to stand and listen; sometimes it's all the better to do nothing." A romantic comedy ("Working Girl") disclosed another string to the bow.
Ford has also been in "Crossing Over," "Extraordinary Measures" and "Indiana Jones and the Kingdom of the Crystal Skull" (2008).