Mad Max: Fury Road

Directed by George Miller and written by Miller, Brendan McCarthy, and Nico Lathouris, Mad Max: Fury Road is the story of a drifter in a desert wasteland as he helps a woman flee from a cult leader who is trying to retrieve his wives. The film is another post-apocalyptic film where it is set in a desert world as Max Rockatansky is in another adventure as he is joined by a mysterious woman in a world that is completely chaotic. Starring Tom Hardy, Charlize Theron, Nicholas Hoult, Rosie Huntington-Whiteley, Riley Keough, Zoe Kravitz, Abbey Lee Kershaw, Courtney Eaton, and Hugh Keays-Byrne. Mad Max: Fury Road is an astonishing grand and enthralling film from George Miller.

Set in a post-apocalyptic wasteland where civilization is on the bring of extinction, the film revolves around a survivor who is captured by a cult as he finds himself in a chase after a truck driver steals a cult leader’s group of wives as he would later help them find freedom. It’s a film that where the character of Max Rockatansky (Tom Hardy) is once again trying to find something in his life as he remains haunted by failures and loss. All of that sense of encounter of terror and chaos forces him to fend for himself and go on his own where he eventually finds a reason to do something in helping this rogue truck driver named Imperator Furiosa (Charlize Theron) who is trying to drive to her old homeland with the wives of the cult leader Immortan Joe (Hugh Keays-Byrne).

The film’s screenplay doesn’t carry a lot of exposition nor does it have a lot of dialogue though it does open with some bits of exposition of where Max had been through for so many years as he is just a survivor. He is constantly haunted by the image of a child he was unable to save as he is first seen captured by a sickly group of young men in white known as War Boys who are part of Joe’s cult. Since Max has blood that can help some of these boys, he is attached to one of them in Nux (Nicholas Hoult) who wants to impress Joe as he joins them on the chase with Max in tow. Yet, the screenplay showcases exactly what the world has come to where Joe has complete control of the water where the people could only get as little as possible while gasoline and milk. Joe also treats people as slaves including women which is a big reason why his five brides are fleeing him and ask Furiosa to drive them away from Joe. Once Max learns what Furiosa is doing, he isn’t sure if he should trust her but realizes what is at stake.

Part of the script’s success isn’t in the fact that there’s an element of feminism that isn’t heavy handed but also reveals that these five wives of Joe are real characters that all have something to say as they’re sick and tired of being objectified and used as slaves. Most notably in a shot where one of the brides is trying to get a chastity underwear out as another one is using bolt-cutters to unchain her. During this chase where Max and Furiosa are taking turns in driving this massive war rig, the script allows these women to be fleshed out as they all want something where they are able to live good lives. The film’s third act isn’t just about these characters trying to reach the destination but also wonder if there is a world where there is hope as Max would be the one to give Furiosa an idea and help her as if they are partners without the need to make out or have sex.

George Miller’s direction is very grand not just for the setting he creates for the film but also in the way he stages the chase scenes and the sense of chaos that surrounds it. Shot on location in Namibia as well as parts of Australia, the locations set in the deserts, swamps, canyons, and mountains do serve a purpose as it establishes a world that is very unforgiving and with a sense of the unknown. Since it is largely a chase film that goes throughout the desert, Miller does use a lot of wide shots to capture the vast look of the locations where it does play into something that feels like a post-apocalyptic world where civilization doesn’t exist. Even as Miller knows how to put his actors in a frame and be part of this vast location where they feel like they’re lost and trying to find something.

The direction also has an element of realism in the way the chase scenes are presented as well as the cars and trucks that are used where Miller definitely goes for an old-school approach of using actual effects rather than heavily rely on computer-based visual effects with the exception of a few scenes. Miller’s usage of close-ups and medium shots do play into the sense of a community trying to come together and help each other as well as stand up for something in a world where order has ceased to exist. Even as it would lead into this extravagant climax where so much is at stake while it is not afraid to delve into moments that are scary but also engaging. Overall, Miller creates an intense yet monstrous film about a drifter who aid a group of women to find hope in a post-apocalyptic wasteland.

Cinematographer John Seale does brilliant work with the film‘s very exotic and vibrant cinematography with its emphasis on the sunny desert look to play into its location along with some usage of blue-filters for some scenes at night with some inspiring lighting cues in the film as it among one of the film‘s technical highlights. Editor Margaret Sixel does amazing work with the editing by not just playing into the sense of chaos that occurs with some fast-cutting but also know when to slow it down for the non-action scenes and using fade-outs to help structure the story. Production designer Colin Gibson, with art directors Shira Hockman and Jacinta Leong and set decorators Katie Sharrock, Lisa Thompson, and Gena Vazquez, does incredible work with the set design from the look of the Citadel canyons where Joe runs his cult as well as the design of the trucks and cars that occurs through the chases.

Costume designer Jenny Beaven does excellent work with the clothes from the look of Joe and his gang as well as the other cults to the bridal-look of Joe’s wives. Hair/makeup designer Lesley Vanderwalt does fantastic work with the look of the characters from the war boys to the look of Joe as well as the hair and makeup of their cult. Visual effects supervisors Andrew Jackson and David Nelson do superb work with the look of the grand winds and tornados along with creatures as they keep things to a minimum in order to play into more practical effects. Sound designers Christopher S. Aud, Julian Slater, and David White, along with sound editors Scott Hecker, Mark A. Mangini, and Wayne Pashley, do phenomenal work with the sound to play into the sense of terror that looms over the film as well as some of the music that is played on location from Joe‘s cult including a guitarist with a guitar that is also a flamethrower. The film’s music by Junkie XL is spectacular with its mix of bombastic beats and orchestral flourishes along with elements of guitars and electronics to play into the chaos and thrill of the chases.

The casting by Nikki Barrett and Ronna Kress is wonderful as it features some notable small roles from Joy Smithers, Gillian Jones, Megan Gale, and Jennifer Hagan as a group of women Furiosa knows, Melissa Jaffer as a woman who has provided a source for the future that one of the wives befriends, John Howard and Richard Carter as a couple of ruthless gang leaders, Nathan Jones as Joe’s strongman son Rictus Erectus, and Josh Helman as Nux’s fellow war boy Slit. In the roles of the five wives, Courtney Eaton is terrific as the more scared Cheedo the Fragile who often thinks about going back to Joe for safety while Abbey Lee Kershaw is superb as the Dag who connects with one of the old women in its third act as she would also start to yearn for something that might bring some hope.

Zoe Kravitz is excellent as Toast the Knowing as a wife who aids Max in reloading the weapons and often observes everything Riley Keough is fantastic as Capable who would befriend Nux while being the one who can help fix the truck. Rosie Huntington-Whiteley is amazing as The Splendid Angharad as a wife of Joe who is pregnant as she is the one in most danger as she is eager to not have a child that would become a slave or a warlord like her husband. Hugh Keays-Byrne is brilliant as Immortan Joe as this cult leader who rules the wasteland as he goes on a chase to retrieve his wives and ensure his legacy.

Nicholas Hoult is marvelous as a sick war boy named Nux who is trying to prove his loyalty to Joe as he endures many situations where he proves to be a reliable person for Max and Furiosa. Charlize Theron is phenomenal as Imperator Furiosa as this rig truck driver with a prosthetic left arm that decides to defy Joe and do what is right without the need to explain herself as it’s a very chilling yet enthralling performance that has Theron be a full-on badass. Finally, there’s Tom Hardy in a remarkable performance as Max Rockatansky as a drifter who finds himself in a troubling situation as he struggles to find some good and meaning in his life as Hardy largely gives a silent performance with few words while not afraid to be overshadowed as he and Theron act as total equals that deliver and more.

Mad Max: Fury Road is an outstanding film from George Miller that features top-of-the-line performances from Tom Hardy and Charlize Theron. Along with a great supporting cast, spectacular stunts and special effects, enthralling music, and dazzling visual effects. It is a film that doesn’t just act as a full-on action blockbuster that entertains but does so much more as it manages to be a feminist film without the need to say anything big. In the end, Mad Max: Fury Road is an astounding and rapturous film from George Miller.

George Miller Films: Mad Max - Mad Max 2: The Road Warrior - (Twilight Zone: The Movie-Nightmare at 20,000 Feet) - (Mad Max Beyond Thunderdome) - (The Witches of Eastwick) - (Lorenzo’s Oil) - (40,000 Years of Dreaming) - (Babe: Pig in the City) - (Happy Feet) - (Happy Feet Two) - (Three Thousand Years of Longing) - Furiosa: A Mad Max Saga - (Mad Max: The Wasteland)

© thevoid99 2015

Mad Max

Directed by George Miller and screenplay by Miller and James McCausland from a story by Miller and Byron Kennedy, Mad Max is the story of a man living in dystopian world where an energy crisis has created chaos in his homeland. The film is a post-apocalyptic film set in a future where society has lost all control as a man tries to make sense of his surroundings in this world of absolute turmoil. Starring Mel Gibson, Joanne Samuel, Hugh Keays-Byrne, Steve Bisley, Tim Burns, and Roger Ward. Mad Max is a riveting and terrifying film from George Miller.

Set in a not-too distant future where the energy crisis has crumbled the Australian landscape, the film revolves around a cop who is trying to maintain order in a world that has gone completely chaotic. Especially as a motorcycle gang has run rampant all over the country forcing the police to take action as its top officer is a man named Max (Mel Gibson). It’s a film that plays into a man trying to maintain some law and order in a world where no one is safe as Max is just a simple family man who was just trying to do his job when he managed to take down a notorious biker named Nightrider (Vincent Gil) which would set a series of catastrophic events to emerge. Especially as Max’s life is in danger as the biker gang that is terrorizing the land wants to kill Max for taking down Nightrider as it’s a film that isn’t just about vengeance but also a man coping with his responsibilities and to deal with men who just want to scare everyone.

The film’s screenplay by George Miller and James McCausland has a very offbeat structure where its first half is about Max taking down Nightrider in the first ten minutes and the reaction from the gang whose leader Toecutter (Hugh Keays-Byrne) is a complete anarchist who believes in taking anything that he needs and bring fear to people. Upon learning what happened to his friend Nightrider, he decides to just amp up his thirst for chaos by sending out his young protégé the Boy (Tim Burns) to cause trouble as he would gain the ire of Max’s partner Goose (Steve Bisley). The film’s second half would be more about Max and his reaction to Toecutter’s attacks as he would try to escape from his work to spend time with his family. Even as Max and his family would have some uneasy encounters with Toecutter’s gang as it would prompt Max to go on a quest of his own.

Miller’s direction is quite stylish as he shoots the film on location in remote small towns and areas near Melbourne, Australia where it has this sense of a world that is in crisis. Since it does take place in a not-too distant future, it is a film that does feel like it is still set in the 20th Century where not much progress has happened leaving for Toecutter and his gang to run rampant in many places. Miller’s usage of wide and medium shots definitely help play into the visual aspect of the film in terms of making these locations integral to the story as well as these very intense camera work into the chase scenes. Much of it has Miller employing some unique angles and close-ups to the cars and tires as they go very fast to play into a sense of danger.

Miller’s compositions and his approach to close-ups add to the drama as well as the tense moments in key scenes such as Max’s wife Jessie (Joanne Samuel) and her encounter with Toecutter as it would set for some very chilling moments in the third act. Especially as it would play into Max’s own development from this loving family man with a sense of duty into someone that becomes hell-bent on taking the law into his own hands. The sense of violence does intensify as the film progresses where there’s elements of suspense as it plays into the sense of anarchy that emerges in these chase scenes where a baby would stand in the middle of the road unaware of what is happening. It is among these moments in the film that showcases a world where law and order is gone and no one is safe forcing a man to take action. Overall, Miller creates a gripping yet harrowing film about a man trying to bring some order to a dystopian world.

Cinematographer David Eggby does amazing work with the film‘s cinematography to bring in something natural to the locations while using some low-key lights for some of the interiors and nighttime interior/exterior scenes. Editors Tony Peterson and Cliff Hayes do brilliant work with the editing with its approach to fast-cuts to play into the intensity of the chase scenes as well a few transition wipes and other stylish cuts to play into the film‘s suspense and drama. Art director John Dowding does terrific work with the design of some of the places such as the police headquarters and bars to play into a world that is in ruin where those who stand for good are trying to keep it vital.

Costume designer Clare Griffin does nice work with the costumes from the leather uniforms the cops wear as well as the wild clothes of Toecutter and his gang. The sound work of Ned Dawson, Byron Kennedy, Roger Savage, and Gary Wilkins is fantastic for its array of sound effects and textures to play into the sense of violence and chaos that looms all over the film. The film’s music by Brian May is excellent for its bombastic orchestral score that plays into the action and suspense along with somber pieces for its drama as it adds to the intensity of the film.

The film’s incredible cast include some notable small roles from Brendan Heath as Max and Jessie’s baby son, Nico Lathouris as a mechanic Max would meet during his vacation, Robina Chaffey as a nightclub singer, Sheila Florence as Jessie’s elderly friend May, Jonathan Hardy as the police commissioner, and Vincent Gil as the notorious cop-killer yet speed-racer Nightrider. Roger Ward is terrific as the police leader Fifi as a man who is quite tough but also has a sensitive side as it relates to plants while Geoff Parry is superb as Toecutter’s brutal lieutenant Bubba Zanetti. Tim Burns is excellent as the cowardly yet trouble-making Johnny “the Boy” Boyle as a man who took part in a couple’s rape and managed to get away with it. Steve Bisley is brilliant as Max’s partner Goose as a cop who is good at riding motorcycles as he isn’t happy about the Boy’s release in his own desire to set things right.

Joanne Samuel is wonderful as Max’s wife Jessie who would have an encounter with Toecutter and his gang as she starts to fear for her own life while dealing with the nightmares Max had early on following Toecutter’s wrath in the film’s first half. Hugh Keays-Byrne is fantastic as Toecutter as this leader of a ruthless biker gang who wreaks havoc around everything that is around him as he is a man with very little remorse while displaying some twisted charm. Finally, there’s Mel Gibson in a magnificent performance in his breakthrough role as Max Rockatansky as a simple family man who displays a sense of duty and responsibility as he copes with the sense of disorder around him as Gibson brings something that is crazy but also balance it with some sensitivity to make Max a very unique character.

Mad Max is a phenomenal film from George Miller that features a tremendous breakthrough performance from Mel Gibson. Not only is the film one of the most enthralling action-suspense films of the late 70s but also one of the most gripping road/chase films ever made. Even as it plays into elements of dystopia with a sense of nihilism that wouldn’t be for everyone yet manages to have enough elements for all kinds of audiences. In the end, Mad Max is an incredible film from George Miller.

George Miller Films: Mad Max 2: The Road Warrior - (Twilight Zone: The Movie-Nightmare at 20,000 Feet) - (Mad Max Beyond Thunderdome) - (The Witches of Eastwick) - (Lorenzo’s Oil) - (40,000 Years of Dreaming) - (Babe: Pig in the City) - (Happy Feet) - (Happy Feet Two) - Mad Max: Fury Road - (Three Thousand Years of Longing) - Furiosa: A Mad Max Saga - (Mad Max: The Wasteland)

© thevoid99 2015