Mad Max And The Green Place Analysis
After almost 30 years of the previous blockbuster of Mad Max series, George Miller comes back with his paramount ideas in his proficient mind, consequently elevating the standards in all aspects for the genre - reasonable plot, colorful characters, mysterious character, delightful situation, and story backgrounds, numerous references to previous movies of the series, and full of personal and complete human drama.
Tom Hardy acting as Max Rockatansky, is chased and incarcerated by the vampire-like men of Immortan Joe (Hugh Keays-Byrne), fastened into a post-Bane facade mask which here is used as a blood bag. The world shown in the movie has water, oil and ammunition treated as currency, with additional “mother’s milk” pumped from steam-punk gadgets intersecting Terry Gilliam and Tinto Brass. Uniting with dissenter Furiosa (Charlize Theron) having a War Rig, Max and the team depart in search of “the Green Place” – a mystic land of mothers, a luxurious return to Waterworld’s mysterious “DryLand”. Their shipment is an extremely
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This is the cause of Miller’s near-mystic reputation as a Director of such action films: a positive, intuitive sense of where and when to amend from the expressive detail to the broader view, and vice versa. Those intuitions were also there in the first “Mad Max,” and they are reviving here as well. They link Miller not that much to the edgy oppressors of the recent blockbuster, resembling Michael Bay, as to creators of Hollywood musicals, and to the initial choreographers of the pursuit, in the silent days when portraits lived by motion only. In “Mad Max: Fury Road,” the Polecats—fighters who sweep from one automobile to another on the end of lengthy stakes—are the progenies of Buster Keaton, who, in “Three Ages,” slipped from a rooftop through three canopies and grabbed at a drainpipe, which swayed him out into the emptiness and back via an open
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