![]() ![]() ![]() The world has fallen, but life as it once was remains within living memory. All the way back in the first Mad Max, the Toecutter’s (Keays-Byrne) sinister gang have a cadence and slang all their own. Indeed, language has been an important part of the series’ storytelling since the word go. While Fury Road is an action-forward film, built first and foremost on the hows and whys of what’s happening, its dialogue is multifaceted and fascinating. Whether on foot or behind wheels, it is a gorgeous ballet of destruction, a deeply personal high-speed war not only for survival, but for the soul of the Wasteland. The complex and steadily evolving relationship between Charlize Theron’s Imperator Furiosa and the five Wives ( Rosie Huntington-Whiteley, Riley Keough, Zoë Kravitz, Abbey Lee, and Courtney Eaton) she is helping escape from her former boss – the merciless warlord Immortan Joe ( Hugh Keays-Byrne). The care and craft put into its automotive armada – each member of which tells its own story, from the last of the V8 Interceptors to the heroic, hard-traveling War Rig to the nefarious Gigahorse. It is a gloriously rich text on every level. So begins Mad Max: Fury Road.įury Road turns five years old this week, and in a lot of ways it feels like western blockbuster cinema is still working to catch up to the work director/co-writer George Miller and his creative collaborators did with it. Max’s ( Tom Hardy) haunted narration and a patchwork quilt of other voices lay out the fall of the world and the birth of the Wasteland. ![]() A second man’s voice, this one anonymous and enraged, yells “Why are you hurting these people?!” The opening credits roll. Beneath his soliloquy, a radio crackles to life. My world is fire, and blood.” He sounds deeply weary, broken even. George Miller’s post-apocalyptic series is just as much about learning to communicate as it is learning to survive in the desert wastes.Īn engine revs. ![]()
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