With thrillers and chillers behind him, like psychic suspenser Patrick and the Rasputin-like political manipulations of Harlequin, with David Hemmings as a string-pulled politico and Robert Powell as the charismatic magician who has entered his world for nefarious means, May was adept at taking emotive narratives and infusing them with depth, character and, above all, momentum … which is exactly what he would need a lot of for Mad Max. Miller recruited Australia’s premier film composer, Brian May, to create the soundtrack to this dark and troubled near-future of frontier blacktop warfare.
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Like crusading knights of the highways, the MFP cops are all that stand between us and complete anarchy. We do not know this place and we wouldn’t be able to trust the judicial system to save us from the mob who are gradually taking over the roads. Although there are still diners, clubs, towns and holidaymakers, society has clearly taken a tumble. All this takes place at some undisclosed time, the day after tomorrow, just before global war will ravage the world and leave it desolate and prey to scavenging gangs and marauders. Enraged at the death of their figurehead, the Nightrider, at the hands of the Main Force Patrol, the Bronze (as they are referred because the big bronze police star on their jackets), a vicious motorcycle gang, led by the Toecutter (Hugh Keyes-Byrne) wage a war of revenge them, singling their star driver, Max, in particular. But, in the roar of an engine, all that was taken from him. Whilst we await Max’s further adventures down Fury Road, it is worth remembering that back at the start of it all, he had a wife and child. It was a phenomenal success and it would spawn two outrageously entertaining and inventive sequels, establishing a wild trilogy that has been so universally acclaimed that it is now currently being rebooted with Tom Hardy assuming the character of the endlessly asphalt-scarred warrior, Max, and once again employing the talents of George Miller as the desert-quelling director. With the ultra low-budget and unflinchingly road-raging independent production that sent stuntmen, cars and motorbikes flying through the air with hair-raising violence and flair, the film broke much more than just reckless bones. It hit like a sledgehammer going at a 120 mph! At once a violent satire like Rollerball and a ferocious comment upon vigilantism as raw and uncompromising and important as Dirty Harry and Death Wish. It was a pure future-shock, both cinematically and thematically. With Mad Max, featuring the breakthrough of star Mel Gibson in the title role, they fashioned a high-speed culture-clash that commented upon the lawlessness of an increasingly moral bankrupt society, Man’s obsession with cars, and the growing desire in audiences for something thrilling, escapist and powerful. Thus, mixing up the Western with the cop thriller with the road movie, George Miller, Byron Kennedy and James McCausland (who co-wrote it with Miller) created a fuel-injected lightning-storm of hi-octane action and an iconic antihero with an SF/Samurai appeal that would become cult-adored and the leather-suited seed from which would sprout an entire genre.
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Their story was just as perfect for the confrontation between good and evil, heroic and villainous. They were a thrown-together colony and they had a million miles of frontier to fight over and tame, themselves. Up until then it had been known for art-house pictures that married up the landscape with a corrupted and individualized revitalization of cultural awareness, and with American movies of the decade offering up a distinctly nihilistic and anti-authoritarian stance, it was only fair that their Antipodean cousins start playing them at their own game. Since we’ve been travelling down these post-apocalyptic highways for a while now, what with the Blu-ray collection of Mad Max films, and reviews of the scores for The Road Warrior and Mad Max Beyond Thunderdome, and we’ve covered a helluva lot of miles, it is only fitting that we now turn our attention to how this entire saga started and roar back down the Anarchie Road of “A FEW YEARS FROM NOW …” alongside the younger Main Force Patrol officer Max Rockatansky, or the Dark One as is emblazoned on the side of his super-charged Interceptor.ġ979 saw Australian Cinema break all the rules.