Fuel Injected Future: Remembering Mad Max at 40 | Little White Lies

In Praise Of

Fuel Inject­ed Future: Remem­ber­ing Mad Max at 40

12 Apr 2019

Words by James Clarke

Man sitting in car, focused expression
Man sitting in car, focused expression
How George Miller’s 1979 debut fea­ture helped set the post-apoc­a­lyp­tic genre in motion.

Veloc­i­ty. Feroc­i­ty. Vis­cera. Three words that accu­rate­ly con­vey the endur­ing appeal of Mad Max and, by exten­sion, its three sequels – an era-span­ning quar­tet that rep­re­sents the ulti­mate in undi­lut­ed genre cin­e­ma. What is it about the 1979 orig­i­nal that has meant so much to audi­ences over the years, and to the evo­lu­tion of films that offer a bleak and spec­u­la­tive glance at tomorrow?

George Miller’s debut fea­ture set a tem­plate of sorts for the post-apoc­a­lyp­tic genre, with 2015’s Fury Road attest­ing to the pos­si­bil­i­ties of the director’s man­ic adven­ture series. An increas­ing­ly super­charged, and vivid­ly realised, action road trip, the first instal­ment assert­ed that even those film that are so com­mit­ted to enter­tain­ment and kinet­ic spec­ta­cle have the scope for a dash of dra­mat­ic expres­sion on the grand themes of what makes a hero.

Miller was always alert to the film’s cul­tur­al res­o­nance, explain­ing to Star­log mag­a­zine in 1982 in the run up to the release of The Road War­rior, In Aus­tralia we have a car cul­ture in the way Amer­i­cans have a gun cul­ture. The cult of the car. Vio­lence by car.”

Plot ele­ments and images dove­tail with increas­ing inten­si­ty across the series, build­ing a dynam­ic hero’s jour­ney tale that’s fuelled by a pro­tag­o­nist and his allies find­ing frag­ments of hope in a hope­less world. The orig­i­nal film, though, revs to a more par­tic­u­lar engine; drenched in a sense of iso­la­tion and nihilism and at var­i­ous points suf­fused with a hor­ror movie quality.

A man in a black leather jacket standing in front of a yellow car on a desert road.

Mad Max was pri­vate­ly fund­ed to the sum of 400,000 Aus­tralian dol­lars and received only a lim­it­ed release in the US, its fate becom­ing tan­gled up in AIP film distributor’s change to Filmways. Actors’ voic­es were even redubbed with Amer­i­can accents, which did not occur again on any of the sequels. Glob­al­ly, Mad Max was much more suc­cess­ful than it was in the US, even­tu­al­ly becom­ing the most com­mer­cial­ly suc­cess­ful Aus­tralian film of all time.

It is such a pre­cise­ly made film: every shot empha­sis­es empa­thy and dra­ma. Con­sid­er the sequence that inter­cuts between Mel Gibson’s Max rac­ing to pro­tect his fam­i­ly as they flee the film’s bad guy Toe­cut­ter (Hugh Keays-Byrne). Amid the per­il and tragedy, elder­ly, gun-tot­ing Rock­atan­sky fam­i­ly friend May Swaisey (Sheila Flo­rence) takes charge, antic­i­pat­ing the ways that female char­ac­ters do through­out the series.

Aside from the film’s strik­ing visu­al style, one of the film’s most stand­out ele­ments is Gibson’s per­for­mance as the tac­i­turn, sad-eyed Max Rock­atan­sky. Togeth­er Miller and Gib­son ren­der the char­ac­ter in a dis­tinct­ly cin­e­mat­ic way, empha­sis­ing action over speech in sense of focus and mis­sion. A lat­er scene, in which the stakes inten­si­fy with every pass­ing moment, and Max’s cir­cum­stances become ever­more dire, intro­duces the mad­ness of Max when he is ambushed on the open road by Toe­cut­ter and his gang. There’s a silence and eeri­ness to the open­ing of the scene, to the point that it fleet­ing­ly recalls the icon­ic crop-duster scene from Alfred Hitchcock’s North by Northwest.

It’s in this scene that Max’s inner pri­mal scream is sparked, antic­i­pat­ing so much to come. With Max alone on the road, the cam­era fol­lows from behind him, low to the ground, as he limps and falls towards his car. In this moment, Max becomes relent­less and deter­mined – the image of him push­ing on across the tar­mac fore­shad­ows anoth­er relent­less cin­e­mat­ic force dri­ven by some atavis­tic pow­er: The Terminator.

Mad Max is invest­ed with a mytho­log­i­cal vibe and, as the series has evolved, its plot and images have become ever­more elab­o­rate. With­in the post-apoc­a­lyp­tic sub­genre, Miller’s films stand as essen­tial tales of indi­vid­ual and com­mu­nal empow­er­ment. Speak­ing to his own sen­si­bil­i­ty in 1985, the direc­tor explained, We were just retelling a basic sto­ry, only instead of a sword fight, we had a car chase!”

When the premise of Miller’s recent­ly announced new film, Three Thou­sand Years of Long­ing, was loose­ly sketched out in press cov­er­age, it sound­ed quite true to the roots of Mad Max: the mytho­log­i­cal thread run­ning across those road movies quite emblem­at­ic of Miller’s vivid­ly-wrought, career-span­ning genre movie madness.

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