MAD MAX (1979) : the embryo of a saga worship

TO READ ALSO :

– MAD MAX (1979) – an introduction to stylish, a film failed

– Retrospective MAD MAX

– Reviewer : MAD MAX: FURY ROAD

C‘is silly to say, but MAD MAX the first of that name, is really the embryo of the masterpiece MAD MAX 2…

This may be a question of resources… But it is clearly seen that the ambitions of the film are limited to what is possible and not what is conceivable. This imagination only will eliminate with the two following films, to provide us with the images of the most iconic of the film’s post-apocalyptic !

In the meantime, the film of George Miller is not a substitute for effective Vanishing Point and other revenges-movies dear to Tarantino, in which, although it is a little expanded, the universe post-apo takes fortunately a very important part.

MAD MAX is a true western Leone-ien, without any real moral or manichaeism, placed in a universe that is “futuristic” stripped of the basic rules of society, that any revelation economic (as in The Rover); it can be seen as a possible development, and in the very long term, the oil price shock of 1973 !

The freedom inherent in this new environment will create characters completely deviant (ToeCutter and his pack, but also the “cops” as pippi or Goose) as some were consumed by the madness, others eager to organise themselves in a decadent world.

It is exciting… But the cinephile, discovering the film 40 years later can not help but do not see any originality. The context is the only way to truly appreciate the film, which may be sum-all, it is quite difficult. This is the other side of the film precursors that have not had the resources to be inimitable.

A few points ultra-memorable :

– the aesthetic of the iconic Miller–ienna is already there, with this style SM leather-mustache, or guides sex are also upset that the social reference points. The witness of a holy freedom of spirit. This aesthetic was further developed and propagated since 1979, and through the Mad Max the following up to define the madness peculiar to the post-apo.

– do not Max the central character in the film.

A constant in the trilogy: if he is a true hero, by his charisma, his boldness and his “skills” (max is very fast), this is the fascinating world in which he moves that interacts with it, and not the reverse.

– the scenes of “cars”, pretty cool in their until the end-ism.

– the madness of Toecutter – Hugh Keays-Byrne completely deluded, totally free wheel, recalling the Brando of Apocalypse Now.

A character that can divide (cf Maxime)

“A film precursor, which has not had the resources to be inimitable.”

In short. MAD MAX installs without originality, but with style, the character of Max, and particularly its universe.

A introduction of good quality, but far less memorable than his 2 (3?) suites, or even the works that he has inspired… unless you have discovered the film before it has contaminated the collective unconscious.

SEQUEL : MAD MAX 2 – or how to invent a genre film !