SHERDOG MOVIE CLUB: Week 4 Discussion - Mad Max

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We've done it, guys: Four movies chosen, four weeks of discussion. When I first proposed the idea for SMC, I wasn't sure at all that it would get off the ground. And once it did, I had no idea if it would crash and burn after a couple of weeks. I think at this point we can finally say that we're legit!

And for this week's discussion, we're going to focus on the 1979 Aussie film Mad Max.


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And now, for the backstory.



Director Bio


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Mad Max is directed by Australian screenwriter, director and producer GEORGE MILLER. Born in 1945, he is now at the ripe old age of 71. He is best known for the Mad Max series of films, with the franchise's latest entry garnering nominations for both Best Director and Best Picture. But it may surprise many members to learn that he is also the director of Babe: Pig in the City and Happy Feet (WTF???), the latter of which won the 2006 Academy Award for Best Animated Picture.

In 2007, Miller was on tap to direct a Justice League film, but due to a variety of reasons the film was put on hold and Miller moved onto other projects. He also worked on pre-production for the Jodie Foster sci-fi vehicle Contact with the intention to direct, but this also fell apart and he stepped aside so that Robert Zemeckis could come on board to helm the film.

Since the release of Fury Road, he has stated his intention to direct more Mad Max movies.




Our Star


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Mad Max stars MEL GIBSON. And c'mon, guys. . . We know, Mel. We fucking know, Mel Gibson. Lethal Weapon, Maverick, Bravehart, The Patriot, Signs, etc. Need I say more?

Okay, well I guess I'll say a little more. Mel Gibson was born in 1956 in Peekskill, NY. At the age of 12, his father relocated the family to Sydney, Australia, which lead to Gibson enrolling in, and eventually graduating from, Sydney's National Institute of Dramatic Art. I'm not sure when he relocated back to the US, but my guess is that it would be sometime in the early to mid-80s, when he first began appearing in American productions. Beyond his abilities as an actor, Gibson has also shown enormous talent behind the camera, having directed The Man Without a Face, Bravehart, The Passion of the Christ and Apocalypto.

Currently, he is in post-production for his WWII drama Hacksaw Ridge.

If you want to read a better biography than you're going to find on Wikipedia, here you go: http://www.biography.com/people/mel-gibson-9310680




Film Overview & YouTube Videos

Premise: In a self-destructing world, a vengeful Australian policeman sets out to stop a violent motorcycle gang.

Budget: ~ $375,000
Box Office (worldwide): $100M














Trivia
(courtesy of IMDB)


* The "get-out-of-jail-free card" that Goose gives the triker was an on-set joke. Because of the limited budget, the biker gang was an actual biker gang (the Vigilantes), and they had to ride to the set each day in-costume; often with their prop weapons displayed. Since the production company expected them to be pulled over by the local police, each was given a letter explaining the film's peculiar requirements, and asking for law-enforcement's understanding and cooperation.

* George Miller raised the money for Mad Max by working as an emergency room doctor.

* Tim Burns (Johnny the Boy) was so into character that he annoyed everyone on set, and was abandoned one day during lunch while handcuffed to the wreck.

* Mel Gibson didn't go to the audition for this film to read for a part, he actually went along with his sister who was auditioning. But because he had been in a bar fight the night before and his head looked like "a black and blue pumpkin" (his words), he was told he could come back and audition in three week's time because "we need freaks!" He did return in three weeks' time, wasn't recognized (because his injuries had healed well), and was asked to read for a part.

* Because he was relatively unknown in the US, trailers and previews did not feature Mel Gibson, instead focusing on the car crashes and action scenes.

* George Miller paid a truck driver $50 to run over the bike at the final scene. However, the truck driver didn't want to damage his rig; thus the crew had to install a shield painted to look like the front of the rig.

* Because of the tight budget, actual decommissioned police cars were used in the film. Only Steve Bisley (Goose) was wearing real leathers. All the other police officers were wearing vinyl costumes. The motorcycles, all late model demonstration units, were donated by Kawasaki. Many of the bikers kept them after the shooting was completed.

* The first scene shot was that of Johnny breaking the chain on the overpass phone. He appears hurried not only because of the storyline, but also because the film company didn't have permission to shoot on that overpass.

* At the time of the film's release, the American audience had virtually no experience with and therefore very great difficulty understanding dialogue with an Australian accent. That's why Mel Gibson's voice was overdubbed by another actor - to prevent otherwise-certain commercial failure of Mad Max in the US due to Americans' rejection of "unintelligible" characters.

* The film's post-production was done at Byron Kennedy's house, with Wilson and Kennedy editing the film in Kennedy's bedroom on a home-built editing machine that Kennedy's father, an engineer, had designed for them. Wilson and Kennedy also edited the sound there.

* In a 2015 interview with The Q&A with Jeff Goldsmith podcast George Miller said that it was not the intention when the script was written to set it in a post-apocalyptic world. This was done because they didn't have the money for extras and properly maintained buildings. In order to cover for this production value limitation the title card was added to the beginning explaining the story was set after a world war. This also accounts for why there is generally more of an established society in this film then any of the sequels.

* The original cover art actually depicts Jim Goose, as "Mad" Max Rockatansky never wears a helmet with a mouthguard nor shin and forearm shields in the entire film.

* In The Madness of Max (2015), it was revealed the actors who played the bikies were sometimes treated like they were actual delinquents. Geoff Parry (Bubba Zanetti) walked into a bank with bleached hair to cash a check and they refused him service.David Bracks (Mudguts) walked into a restaurant in his gear and was told to leave because they 'didn't serve his kind.'

* Most of the extras used in the film were paid in beer.

* George Miller described the whole experience as "guerrilla filmmaking", where the crew would close roads without filming permits, not use walkie-talkies because their frequency coincided with the police radio, and after filming was done Miller and Byron Kennedy would even sweep down the roads. Still, as filming progressed the Victoria Police became interested in the production, helping the crew by closing down roads and escorting the vehicles.




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I'm not a member but...



*Fun Fact*
This scene came from the mind of George Miller due to his time as an E.R. doctor. The whole thing about the time to saw through bone is from experience.
 
Man, this should be a fun conversation!
 
I heard this was a movie!
 
All right, ya'll are being retarded. I guess I'll start for real.

Mad Max. . . Hmm. . .

First off, I'm glad I watched this movie. It's been "on the list" for years but I never have actually sat down and watched it. So it feels good to finally be able to mark it off.

It was also interesting to see very young Mel Gibson gallivant around with his Australian accent. Before this film, the earliest Mel Gibson movies I had seen dated from around the mid-80s, so to see him be little more than a babe in swaddling clothes is intriguing in its own right.

But with that said, throughout the movie I constantly felt like I was more viewing a historical artifact than I was being entertained by a good film. It struck me as a sort of prototype for modern action movies. That is, the basic idea was there, but it wasn't quite ready for production. Or perhaps a better way to put it is that it was one of the trailblazers that, while being very important in its own right, can't quite stand up to what came after it just a few years later. Mad Max is the IBM PC . . . Colt Single Action Army . . . Don Frye . . . Atari Game System . . . of action movies.

To be fair, we had seen action done really well even before this film, such as in Star Wars. So I'm not sure how much of this sentiment I should lay at the feet of Miller's experience level or the budget. But it is nonetheless a movie of its time and it stands just on the wrong side of the precipice of the action revolution that hit the industry in the 80s.

So while it's certainly an INTERESTING film, and it's a film that we probably needed to come along as a touchstone of sorts, I feel like it's also a film that time has passed by.
 
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More than a precursor of modern action films, I feel like it was a precursor of modern post apocalyptic films. Interestingly, as the OP points out, it wasn't even written with that particular setting in mind.
 
More than a precursor of modern action films, I feel like it was a precursor of modern post apocalyptic films. Interestingly, as the OP points out, it wasn't even written with that particular setting in mind.

It was definitely that.

It makes sense to me, though, that this was not the film's original intention. Because while watching it (before reading the IMDB trivia), I thought to myself, "I thought this was supposed to be post-apocalyptic." Because it didn't really feel to me like it was.

Sure, maybe not the best time for society, but the earth didn't exactly look like a scorched wasteland either.
 
thoroughly enjoyed watching this again. I remember bits and pieces but it wa just as good as the first time. Violent, brutal, and kinda campy at times. Gibson was great and he was super serious in this.
 
It’s kind of hard for me to review this movie because I’ve seen so many times and loved it as a kid. The trivia was a fun read and makes helps make sense of a few things. I always knew it was a post -apocalyptic time frame even though it’s not really talk about in the movie. The threat of nuclear war was a real thing when this movie came out so it wasn’t all that far-fetched. People really thought this is what remote areas would be like after a nuclear war. It was like watching an alternate reality.


What can I say, fast cars, motorcycles and violence. This movie has it all, one of my all-time favorites.
 
I'm going to start of by giving a sort of thematic analysis of the film. If you're wondering what I thought of the film -- then you can watch this music video and take a guess afterwards.





Pre-Apocalypse
One of the interesting things about Mad Max is how it's not really a Post-Apocalyptic movie, like it's sequels. Instead it seems to be set in the precursor-stage of the Apocalypse. Towns and basic infrastructure is still operating. However, biker-gangs are booming. The police constantly have to patrol the roads to keep civilization tiptoeing along. Max even says at one point that he has been on a 3-day patrol. The message that we get here is that society, institutions and resources are strained - and so are the men tasked with holding all this together. Collapse due to societal-exhaustion is imminent. This pre-Apocalypse theme is further illustrated in how decentralized the Hall of Justice seems to be operating. They're a bunch of cops held up in fortress-looking building. You get the feeling that contact with central-command is limited, that reinforcement and supply-runs are scarce, so is maintenance, hence the Halls of Justice basically being in shambles. Calling for help for some sort of goverment seems to be completely out of the question. Society has become so strained that it has decentralized into locally-operated fiefdoms that has to fend for themselves against the onslaught of criminals.


Human degradation
One of the films that George Miller reportedly took a major deal of influence from in creating Mad Max was A Clockwork Orange. Now that may seem baffling at first but I think it reveals a lot in how Miller enlivened the Toecutter gang and the concept of outlaws in general. Think about it. One of the themes of Clockwork Orange is how society has entered a decadent, degenerate phase. The gangs are absurd and sadistic. Society at large seems heavily sexualized and libertine. I think all this thinking about human degradation is mirrored in the Toecutter gang. Because... it's not just that they are rambunctious outlaws like you see in most Hell's Angels films from the 60's. These guys are downright animalistic. One of the meows when stalking Max's girlfriend. Toecutter himself hisses like a cat. When their in the village and Toecutter whistles for his men to pursue the boy and girl, they react with the sudden alertness of called-upon dogs. Unlike the rest of society, they are nomads, settled nowhere, a foreshadowing how life's going to become in the apocalypse. With the exception of maybe Toecutter and his blond sidekick, these guys just come off as uninhibited beasts.




Cultish father/son fascism
This is a nice bit of thematic continuity with Fury Road. In both films, you have a belligerent, practically brainwashed youth (Nux, Johnny Boy) who follows and practically worships a cultish Father Figure (Immortal Joe, Toecutter). Both Joe and Toecutter have amassed an obedient horde of these youngish warriors that they dominate both physically and mentally. Cultish brainwashing is therefore a theme in both movies. Nux is indoctrinated from birth in the cult that Joe has started, and we see Toecutter force Johnny boys hand in killing a grievously wounded Goose, telling him to do it for "freedom and nightrider" which further binds him psychologically into Toecutter's hold.

Basically, I feel that the religious Cult of Personality that Immortal Joe has established for himself in Fury Road is just a more elaborate and sophisticated mechanism than the Biker-Gang dynamic that Toecutter had nailed down in the first Mad Max. They both operate with the same end-result in mind, it's just a question of sophistication and institutionalism.

That said, Nux's in Fury Road basically works as symbolic redemtion for Max though. In the Mad Max 1979, it's the final killing of Johnny Boy that makes Max go "Mad", and become the titular character. It's the moment when he decided to sadistically kill this rather childlike, scared, brainwashed "Boy" that he finally loses all touch with humanity and becomes the traumatized, reclusive individual that we see in The Road Warrior. Max hinted at this development throughout the film, he quite the force because he didn't want to end up a "terminal crazy". Well, the extrajudicial killing of Johnny Boy made him a nomad creature of the road, seperated from civilization and humanity.

As I said, I think the character-arc of Nux in Fury Road works as a redemption of this though. Here, it's the brainwashed boy that is integrated back into humanity, and turns on his fascist father-god figure. Nux is deprogrammed and turned into one of the good guys, a humanistic effort, something Max never did with Johnny Boy.


Man and Machines
Another theme that I hadn't really thought about until this viewing of Mad Max was the integration of Man and Machine. This comes mainly from the dialogue. There seem to be several hints about how the vehicle-dominant culture of George Miller's Australia has made people start associating themselves with their vehicles. Nightrider says "I'm a fuel-injected suicide-machine". The doctors discuss their patients in terms of being "salvageable", not a term you usually use when discussing healing humans. The two cops in the beginning saying "We're mobile!" as their vehicle comes to life again. And people are constantly integrated with their vehicles in Mad Max. You need a car to get anywhere, do anything. Max himself talks about how he loses his sense of self on his day-long patrols on the highways, hinting about how he is becoming "one" with his veichle. Jessie is really the only thing holding him stranded in pedestrian, settled life. Without it he'd be a nomad like the bikers. Man and Machina are blended together, this functions integrated as one due to the necessity of the enviorment.



Powerless on the road



This scene from start to 1:30 is fucking amazing.

The quick quitting between Jessie and Toecutter's gang give it a sense of intensity and impending doom. And the flat, featureless terrain works to emphasize the difference in speed between the two parties. You feel how powerless Jessie is when trying to outrun these swiftly-incoming pursuers. They effortlessly run her over. This sense of powerlessness is further developed when Max enters the picture. Jessie is situated far away from him, and it takes ages for him to sprint up to her on foot, which is completely contrasted by the blitzkrieg way in which the bikers closed the distance between themselves and her! Again, this emphasizes how powerless Max is in this moment. His beloved son and wife lies dead within his vision, but he is so slow in comparison to their killers that he can't even be at their side in any decent time. It shows the complete powerlessness that pedestrians are subjected to in comparison to these ultra-mobile gangs.

To live in George Millers Australia without a veichle is like living on the Mongol Steppe without a horse. You're powerless. You're dead. Veichle = Power.
 
But with that said, throughout the movie I constantly felt like I was more viewing a historical artifact than I was being entertained by a good film. It struck me as a sort of prototype for modern action movies. That is, the basic idea was there, but it wasn't quite ready for production. Or perhaps a better way to put it is that it was one of the trailblazers that, while being very important in its own right, can't quite stand up to what came after it just a few years later. Mad Max is the IBM PC . . . Colt Single Action Army . . . Don Frye . . . Atari Game System . . . of action movies.

This^

The 1979 Mad Max is nothing like what came later, it was like a prototype film for the apocalypse in the Mad Max universe. My memories growing up were of film #2 and #3. Mad Max The Road Warrior and Mad Max Beyond Thunderdome. Mad Max The Road Warrior actually had a 98% Tomato rating to the most recent film, Fury Road's 97%.

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Trivia buffs should note that Max's car is a 1973 Ford Falcon GT Coupe with a 300 bhp 351C V8 engine, customized with the front end of a Ford Fairmont and other modifications. ~ Robert Firsching


I found Mad Max almost a difficult view. Slow at times and I was always wanting the Mad Max I knew that came later. Still though, it does an important job setting up the mind of Max and why he was the way he was in the later films. Its also interesting to note that many of the bikers in the original Mad Max film were actually bikers in a local biker gang.
 
I always knew it was a post -apocalyptic time frame even though it’s not really talk about in the movie. The threat of nuclear war was a real thing when this movie came out so it wasn’t all that far-fetched. People really thought this is what remote areas would be like after a nuclear war. It was like watching an alternate reality.

I'm British, so I was always taught that Australia really was a post-apocalyptic wasteland full of scum and despair.

My first Mad Max film was The Road Warrior, so that along with what I'd learnt at school informed my opinion of Australia until I guess Steve Irwin hit the scene. I saw the original Mad Max years after The Road Warrior, during the days of Steve Irwin, and I hated it. I didn't have that sense of realism The Road Warrior had back in the day. Maybe on this second viewing I'll get some different ideas
 
I watched the movie yesterday for the first time, and wrote this "review" after I finished...
My apologies if some of this has been mentioned already.

The opening scene showed the "Hall of Justice" with it's sign in disrepair, followed by a shot of the Mel in his MFP car parked at "Anarchie road"... some fitting symbolism.

The opening car chase scene was fantastic. No CGI fakery. It was all real dangerous action, the stunts were great. Definitely one of the best chase scenes I've seen. At later points in the movie and in the sequel the chase scenes were clearly sped up, but Miller did a great job of hiding it in that scene. It definitely set the bar high, maybe too high...

We then learn that he has a family, his wife loves him very much but she's not too happy, she's worried about him. Then "Goose" gets burned alive and things get too real for Max. He quits, but it was obvious he was going to come back. It was pretty predicatble.
When his partner "The Goose" gets burned alive... the fire was set with a match that was already burned out. That bothers me more than it should. I used to work at a wrecking yard and we would put our cigarettes out in cups of gasoline and throw/drop lit matches into the cups, not once did they ever catch fire. But that's been done in hundreds of movies and it looks cool, so it's understandable and forgivable. I just thought it took away from the drama of the scene. His partner getting burned alive didn't have the impact it should've. The acting wasn't great either.

When he quit, you knew he'd be back. You knew it wasn't going to turn into a rom-com for long, the movie is called "Mad Max" so his plan to retire and not go mad was doomed to begin with. This is where the movie started to lose steam. The script and the acting hurt that scene, it just didn't seem that genuine to me. I really liked the one line he said though, about becoming a monster, with a badge. I liked that, they at least admitted that the good guys are also bad guys. It's a matter of perspective. Although for the most part the subject of good vs. evil was grossly over-simplified in the movie, and in the movie industry in general.

The romantic vacation part was just to show how happy they were, so there would be more impact when his wife and kid are killed. It's dark, but he has no family in the sequel and if "Goose being burned alive" wasn't going to do it, then the gang murdering his wife and kid seemed like the next most likely option. That was predictable for me.

Cops are more paranoid than normal people, far more paranoid. They're suspicious of everyone. It was a bit of a stretch for Mel to let his wife and child go get ice cream considering the gang activity in the area, maybe he thought they were far enough away that it would be ok.... But then to let her to go swimming so far away from him, when they were being chased by the gang, that was a bit much. In the movies defense, they were in a very remote area (it seemed) so I guess they thought they were safe... but if so, then how did the bad guys track them down?

I liked that Miller didn't show close-ups of the dead family and Max's reaction to it. They didn't have the special effects to sell it, and Mel didn't have the acting chops at the time either. The distance helped sell the scene, but the music let it down, and lessened the impact.
The ending part where he tries to get the guy to saw off his leg was obviously re-used in "Saw" That story pre-dates cinema, some fur-trappers were forced to make that choice after being caught in bear-traps while alone in the wilderness. It was a surpising and welcome addition to the movie.

The movie was a bit anticlimactic. The final chase scene couldn't live up to the opening one. They did some crazy car crashes at the beginning, and for reasons of safety they obviously couldn't go as nuts with the motorcycles... but the ending was still good. I was really hoping for some more great car crashes after that opening scene.

The music was composed and conducted by Brian May from Queen. I love Queen but I thought he missed the mark here. The music was too regimental, too old-fashioned. It didn't really gel with the dystopian future theme of the movie, imo.

I wish I could've seen it before I saw "The Road Warrior" or before I knew who Mad Max was. I also wonder if I would've enjoyed it more if I hadn't seen so many revenge-based Kung-fu films... Was it predictable in 1979? I don't know.

Overall it was a very enjoyable ride. The stunts and chase scenes were fantastic. The story was similar to your classic kung-fu revenge story, but the setting was very different, and Max struggles more with the idea of wrong and right. I'd give it a 7.5/10. There's not too many action films from the 70's that can keep me entertained from start to finish, but this one really delivered.
 
More than a precursor of modern action films, I feel like it was a precursor of modern post apocalyptic

The 1979 Mad Max is nothing like what came later, it was like a prototype film for the apocalypse in the Mad Max universe.



I know that this is the established position but I'd like to go a bit against the grain here.

A Boy and His Dog (1975) is more of a precursor to the Road Warrior style post-apocalypse esthetic that would come to dominate after it's amazing success. It has the desert landscape, abundance of leather and shoddy clothes, and all that you'd associate with The Road Warrior estetic.

Mad Max 1979 feels more like it's stuck in the middle between the A Boy and His Dog style of post-apocalypse, which would soon reach it's zenit in Road Warrior, and the style that came before it, which is present in such films as The Ultimate Warrior (1975), Damnation Alley (1977) and No Blade of Grass (1970)
 
I'm British, so I was always taught that Australia really was a post-apocalyptic wasteland full of scum and despair.

My first Mad Max film was The Road Warrior, so that along with what I'd learnt at school informed my opinion of Australia until I guess Steve Irwin hit the scene. I saw the original Mad Max years after The Road Warrior, during the days of Steve Irwin, and I hated it. I didn't have that sense of realism The Road Warrior had back in the day. Maybe on this second viewing I'll get some different ideas

LOL. That's hilarious.

BTW, I never realized you were British. I'm surprised by that.
 
The opening car chase scene was fantastic. No CGI fakery. It was all real dangerous action, the stunts were great. Definitely one of the best chase scenes I've seen. At later points in the movie and in the sequel the chase scenes were clearly sped up, but Miller did a great job of hiding it in that scene. It definitely set the bar high, maybe too high...

Yes, it's nice to watch a movie where it's very obvious that every stunt is 100% real. Every crash and every explosion involved physical objects and real fire.


When he quit, you knew he'd be back. You knew it wasn't going to turn into a rom-com for long, the movie is called "Mad Max" so his plan to retire and not go mad was doomed to begin with. This is where the movie started to lose steam. The script and the acting hurt that scene, it just didn't seem that genuine to me. I really liked the one line he said though, about becoming a monster, with a badge. I liked that, they at least admitted that the good guys are also bad guys. It's a matter of perspective. Although for the most part the subject of good vs. evil was grossly over-simplified in the movie, and in the movie industry in general.

The romantic vacation part was just to show how happy they were, so there would be more impact when his wife and kid are killed. It's dark, but he has no family in the sequel and if "Goose being burned alive" wasn't going to do it, then the gang murdering his wife and kid seemed like the next most likely option. That was predictable for me.

Yeah, by modern standards, it's a rote plot. As soon as he quits the force and the next thing we see is him and his girl on the beach, I knew that she was dead. No doubt about it. Either dead or kidnapped and he'd have to get her back. But most likely dead

Sure enough, 30 minutes later she's a corpse.


There's not too many action films from the 70's that can keep me entertained from start to finish, but this one really delivered.

I think of all the genres, action is one of the two that suffers most from the sands of time (the other being sci-fi). Both the technology as well as ideas on choreography and how to edit action just had not yet matured.

Action as a genre really came into its own in the 80s. Nearly everything before that is prologue.
 
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I'm going to start of by giving a sort of thematic analysis of the film. If you're wondering what I thought of the film -- then you can watch this music video and take a guess afterwards.





Pre-Apocalypse
One of the interesting things about Mad Max is how it's not really a Post-Apocalyptic movie, like it's sequels. Instead it seems to be set in the precursor-stage of the Apocalypse. Towns and basic infrastructure is still operating. However, biker-gangs are booming. The police constantly have to patrol the roads to keep civilization tiptoeing along. Max even says at one point that he has been on a 3-day patrol. The message that we get here is that society, institutions and resources are strained - and so are the men tasked with holding all this together. Collapse due to societal-exhaustion is imminent. This pre-Apocalypse theme is further illustrated in how decentralized the Hall of Justice seems to be operating. They're a bunch of cops held up in fortress-looking building. You get the feeling that contact with central-command is limited, that reinforcement and supply-runs are scarce, so is maintenance, hence the Halls of Justice basically being in shambles. Calling for help for some sort of goverment seems to be completely out of the question. Society has become so strained that it has decentralized into locally-operated fiefdoms that has to fend for themselves against the onslaught of criminals.


The description on imdb was a "dystopian future" which is "a community or society that is undesirable or frightening". In this case the society was towards the end of the transition phase from government to anarchy. I agree, I picked up on some of that. Even though they got "night rider" I also got the impression that they were losing the battle. Especially after Goose was murdered.

Human degradation
One of the films that George Miller reportedly took a major deal of influence from in creating Mad Max was A Clockwork Orange. Now that may seem baffling at first but I think it reveals a lot in how Miller enlivened the Toecutter gang and the concept of outlaws in general. Think about it. One of the themes of Clockwork Orange is how society has entered a decadent, degenerate phase. The gangs are absurd and sadistic. Society at large seems heavily sexualized and libertine. I think all this thinking about human degradation is mirrored in the Toecutter gang. Because... it's not just that they are rambunctious outlaws like you see in most Hell's Angels films from the 60's. These guys are downright animalistic. One of the meows when stalking Max's girlfriend. Toecutter himself hisses like a cat. When their in the village and Toecutter whistles for his men to pursue the boy and girl, they react with the sudden alertness of called-upon dogs. Unlike the rest of society, they are nomads, settled nowhere, a foreshadowing how life's going to become in the apocalypse. With the exception of maybe Toecutter and his blond sidekick, these guys just come off as uninhibited beasts.

That's interesting, A Clockwork Orange. I can see the influence, but they mostly reminded me of the same kind of bikers you see in Sexploitation films from that era. They were a bit tamer than most I've seen tbh. But this movie was much more mainstream than the cheap sexploitation films I've seen on YouTube, so that's understandable. I was expecting an ending more in line with "Bring me the head of Alfredo Garcia" by Sam Peckingpah.

Cultish father/son fascism
This is a nice bit of thematic continuity with Fury Road. In both films, you have a belligerent, practically brainwashed youth (Nux, Johnny Boy) who follows and practically worships a cultish Father Figure (Immortal Joe, Toecutter). Both Joe and Toecutter have amassed an obedient horde of these youngish warriors that they dominate both physically and mentally. Cultish brainwashing is therefore a theme in both movies. Nux is indoctrinated from birth in the cult that Joe has started, and we see Toecutter force Johnny boys hand in killing a grievously wounded Goose, telling him to do it for "freedom and nightrider" which further binds him psychologically into Toecutter's hold.

Basically, I feel that the religious Cult of Personality that Immortal Joe has established for himself in Fury Road is just a more elaborate and sophisticated mechanism than the Biker-Gang dynamic that Toecutter had nailed down in the first Mad Max. They both operate with the same end-result in mind, it's just a question of sophistication and institutionalism.

That said, Nux's in Fury Road basically works as symbolic redemtion for Max though. In the Mad Max 1979, it's the final killing of Johnny Boy that makes Max go "Mad", and become the titular character. It's the moment when he decided to sadistically kill this rather childlike, scared, brainwashed "Boy" that he finally loses all touch with humanity and becomes the traumatized, reclusive individual that we see in The Road Warrior. Max hinted at this development throughout the film, he quite the force because he didn't want to end up a "terminal crazy". Well, the extrajudicial killing of Johnny Boy made him a nomad creature of the road, seperated from civilization and humanity.

As I said, I think the character-arc of Nux in Fury Road works as a redemption of this though. Here, it's the brainwashed boy that is integrated back into humanity, and turns on his fascist father-god figure. Nux is deprogrammed and turned into one of the good guys, a humanistic effort, something Max never did with Johnny Boy.

Yeah, that's true. I never really picked up on that. I was too busy getting mad about the match being used to light Goose on fire...

To quote from "Ted Gunderson", former chief of the FBI "The CIA makes the mafia look like a bunch of Sunday school kids" All hierarchical power systems are forms of gangs and they all have leaders that use their power, knowledge, and influence to manipulate the minds of their "students"

They did a good job showing Max's transition from happy to mad. All too often movies rush that, I'm looking at you Star Wars 2.

Man and Machines
Another theme that I hadn't really thought about until this viewing of Mad Max was the integration of Man and Machine. This comes mainly from the dialogue. There seem to be several hints about how the vehicle-dominant culture of George Miller's Australia has made people start associating themselves with their vehicles. Nightrider says "I'm a fuel-injected suicide-machine". The doctors discuss their patients in terms of being "salvageable", not a term you usually use when discussing healing humans. The two cops in the beginning saying "We're mobile!" as their vehicle comes to life again. And people are constantly integrated with their vehicles in Mad Max. You need a car to get anywhere, do anything. Max himself talks about how he loses his sense of self on his day-long patrols on the highways, hinting about how he is becoming "one" with his veichle. Jessie is really the only thing holding him stranded in pedestrian, settled life. Without it he'd be a nomad like the bikers. Man and Machina are blended together, this functions integrated as one due to the necessity of the enviorment.



Powerless on the road



This scene from start to 1:30 is fucking amazing.

The quick quitting between Jessie and Toecutter's gang give it a sense of intensity and impending doom. And the flat, featureless terrain works to emphasize the difference in speed between the two parties. You feel how powerless Jessie is when trying to outrun these swiftly-incoming pursuers. They effortlessly run her over. This sense of powerlessness is further developed when Max enters the picture. Jessie is situated far away from him, and it takes ages for him to sprint up to her on foot, which is completely contrasted by the blitzkrieg way in which the bikers closed the distance between themselves and her! Again, this emphasizes how powerless Max is in this moment. His beloved son and wife lies dead within his vision, but he is so slow in comparison to their killers that he can't even be at their side in any decent time. It shows the complete powerlessness that pedestrians are subjected to in comparison to these ultra-mobile gangs.

To live in George Millers Australia without a veichle is like living on the Mongol Steppe without a horse. You're powerless. You're dead. Veichle = Power.


I didn't pick up on any of that, but it makes perfect sense now that you explain it. I thought it was really weird that they were referring to themselves as machines like that. I didn't get it.

However, In the sequel Max spends a good portion of the movie without a vehicle and he does better during that time. Whenever he's in a vehicle he's constantly being attacked in "The Road Warrior". I guess George changed his mind on that subject.

There's merit to being in a vehicle, on foot, or on horse. And there's cons to them all also...
 
I'm British, so I was always taught that Australia really was a post-apocalyptic wasteland full of scum and despair.

My first Mad Max film was The Road Warrior, so that along with what I'd learnt at school informed my opinion of Australia until I guess Steve Irwin hit the scene. I saw the original Mad Max years after The Road Warrior, during the days of Steve Irwin, and I hated it. I didn't have that sense of realism The Road Warrior had back in the day. Maybe on this second viewing I'll get some different ideas

You didn't watch "Crocodile Dundee"?
 
When he quit, you knew he'd be back. You knew it wasn't going to turn into a rom-com for long, the movie is called "Mad Max" so his plan to retire and not go mad was doomed to begin with. This is where the movie started to lose steam. The script and the acting hurt that scene, it just didn't seem that genuine to me.


This was George Millers first stab at filmmaking. The guy wasn't even a film student before this, he was an ambulance medic. That considered, it's an absolutely, mind-boggling wonder how well he managed to shoot the action as well as his thorough thematic considerations in this film. That said, when it came to things like pacing, structure and dialogue, his inexperience definitely showed.

And that's not even mentioning the low-budget roots of this film. The production crew literally payed actors and stuntmen in aussie beer so to get them to participate - and even had to donate their own veichles for the slaughter.

The opening car chase scene was fantastic. No CGI fakery. It was all real dangerous action, the stunts were great. Definitely one of the best chase scenes I've seen.

Yeah that opening car chase is just fantastic. That shoot of the police-car smashing through the trailer is one of those visceral images that is unsurpassed to this day. And I love that exaggerated spin on the blue car as it's hit in the rear, they actually pulled out the motor of the car so to accomplish that effect. And then you see the next car whizzing by and it's still spinning. Definitely one of those kinetic images that stays with you.


One of the things I love so much about this movie is it's almost slovenly fetishization of
vehicles. You get venerating shots of cars in action that you just don't get in other films. It's a focus on their dynamic, kinetic, raw character. Modern car movies like Fast and Fursion does nothing in relation to presenting their veichles like this. It's like porn for people like me who love when you venerate something on screen like this.

Take this shot as an example. You have the camera-man riding BJ Peen style behind the driver just so to get a shot of the action.

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And likewise with hos kinetic this scene is.

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Also, I hope this stuntman got an extra batch of beer for his effort.

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I'm British, so I was always taught that Australia really was a post-apocalyptic wasteland full of scum and despair.
BTW, I never realized you were British. I'm surprised by that.

Yeah here I've been thinking you where German this whole time!

And yeah, the Road Warrior was my mental-picture guide to Australia as well. :D

I think of all the genres, action is one of the two that suffers most (the other being sci-fi). Both the technology as well as ideas on choreography and how to edit action just had not yet matured.

Action as a genre really came into its own in the 80s. Nearly everything before that is prologue.

Hell, action wasn't even a genre until the 80's. Action was just a subset of Westerns, Gangster or Sci-Fi movies up until that point. Pureblooded action films was definitely a product that developed in the 80's, spurred on by movies like Mad Max (though, the Road Warrior was a far greater influence). The first movie that you could possibly call being a movie where the action-element plays a substantial and integrate part of the films identity is probably the excellent G-Men from 1935.

is one of the two that suffers most (the other being sci-fi)

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Out of morbid curiosity, which sci-fi films would you give as an example of this phenomenon?
 
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