Though he studied to become a doctor, Australian-born George Miller always dreamed of making movies. The early 1970s saw numerous Australian-made exploitation films being released, such as Stone and The Man from Hong Kong. After witnessing numerous car crash injuries as a doctor, Miller used this as inspiration for a car-centric action movie. With co-writer James McCausland, Miller drafted a story about car crashes in a dystopian future. Miller initially sought Irish-born James Healey for the titular hero, but he ultimately hired a 21-year-old Mel Gibson. The rest of the cast comprised relative unknowns and bikers from local gangs, and the shooting began in late 1977. With a relatively low budget and a first-time director, the crew used new and innovative techniques to bring it to life. After a grueling shoot, Mad Max hit Australian cinemas in 1979, followed by an American release in 1980 through AIP.
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Synopsis
Society is on the brink of collapse in the not-too-distant future as crime runs rampant and the authorities are dwindling. The Main Force Police, or MFP, is among the last remaining groups enforcing the law and needs help. Thankfully, they’ve got Max Rockatansky (Mel Gibson), a good cop who can get the job done, though not for long. With the rise in violence, apathy of the locals, and his family at risk, Max is considering leaving the force. Meanwhile, Toecutter (Hugh Keays-Byrne), the leader of a biker gang, wants revenge for the death of his second-in-command. They go after Max’s partner, Jim “Goose” Rains (Steve Bisley), which convinces Max to leave the force for his family. Unfortunately, things turn tragically when Max’s wife Jessie (Joanna Samuel) and son Sprog (Brendan Heath) are killed by Toecutter’s gang. Now driven mad, Max hops into his Pursuit Special to get revenge on Toecutter.
Review
Modern audiences who’ve only seen Mad Max: Fury Road might dislike the slower tone of this movie. However, if you love what George Miller has made now, you can see how 1979’s Mad Max laid the groundwork. For a first-time director, Miller showed excellent potential in working with a limited budget and making it look bigger. The low-angle camerawork and the undercranking of the camera make the car scenes more dynamic and intense. Also, the stuntwork is excellent, though I worry that many of these stunt actors suffered traumatic head injuries. Regardless, the raw, visceral energy of the action sequences is something you could only get from late 70s indie movies. It helps that the action sequences serve the story rather than being there for the sake of being there. You genuinely care about what’s happening instead of waiting for the film to end.
Regardless of how you feel about him, there’s no denying that Mel Gibson is solid here as the titular hero. He plays the character with quiet stoicism, but you see early on that he’s a relatively normal guy. As the film goes on and more bad things happen to Max, you see him transform into a ruthless anti-hero. It’s an excellent character arc that leaves you wondering if his actions toward the end are justified. Also, Hugh Keys-Bearne shines as the villainous Toecutter, chewing up every bit of scenery around him while still being intimidating. Steve Bisley is also fun as Max’s good friend Jimmy the Goose, and what happens to him is tragic. Joanne Samuel also shines as Max’s wife, and Roger Ward has some fun moments as Fred “Fifi” Macaffee. All around, the cast is excellent, though some of them are better than others.
It’s interesting reading contemporary reviews condemn the film for its violence and “ugliness” when it’s not that gruesome. Sure, the movie is vicious, but you don’t see the violence, only the aftermath, which is somehow more disturbing. Also, composer Brian May’s score is excellent, adding to the intensity and brutality of the film with some softer touches. My only real complaints are nitpicks that can easily be explained by the limited budget, but they’re worth addressing. Some of the audio is a bit off, the editing can get erratic sometimes, and there’s little characterization. Complaints aside, this is still a landmark of Australian cinema and worldwide cinema that launched many careers. Plus, at only 93 minutes, the movie blazes by without feeling like it’s rushing to the end. Overall, Mad Max is a classic that still holds up 45 years after its release.
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