With the release of George Miller’s “Furiosa: A Mad Max Saga,” audiences are given a unique opportunity to delve into the origins of the iconic character Imperator Furiosa. Originally portrayed by Charlize Theron in “Mad Max: Fury Road,” the character is now brought to life as a young adult by Anya Taylor-Joy in the new film. This prequel not only enriches Furiosa’s backstory but also makes the original Mad Max films essential viewing for both new and returning fans.
The Mad Max series, starting with the 1979 film “Mad Max,” followed by “The Road Warrior” in 1981, and “Mad Max Beyond Thunderdome” in 1985, laid the groundwork for the dystopian world that Miller would revisit with spectacular success 30 years later. These films, directed by the Australian filmmaker, created a singularly freaky, motorized, dystopic future that has captivated audiences for decades.
The term “post-apocalyptic” is often associated with the Mad Max movies, particularly the original 1979 film. However, there’s no explicit apocalyptic event depicted in the film. Instead, it’s the desolate and violent landscape that evokes a sense of a world gone awry. In this world, law and order have broken down, and gasoline is so scarce that marauders treat fuel trucks like bandits in the Old West. As Miller’s budget and ambition grew with each subsequent film, he expanded this sandbox, but the original Mad Max remains a raw and powerful depiction of a society on the brink of collapse.
For those unfamiliar with the plot of the original Mad Max, the film stars Mel Gibson as Max Rockatansky, a top pursuit officer in a police department overwhelmed by lawless gangs. After Max successfully tracks down a particularly malevolent gang leader named Nightrider, leading to his explosive demise, Nightrider’s gang, led by the sadistic Toe Cutter, seeks revenge. The escalating danger forces Max to reconsider his role in the force, leading him to take a vacation with his wife Jessie and their young son. However, when Toe Cutter’s gang targets his family, Max takes the law into his own hands.
Stripped of its futuristic setting and unique character names, Mad Max is essentially a vigilante thriller, a common exploitation-movie premise. What sets it apart is the delayed onset of the vigilante action, which only comes into play in the film’s final act. When Max’s son is killed and his wife is gravely injured, he quietly resolves to exact revenge. This wordless transformation into a vengeful force is what makes Max’s “madness” so compelling.
Miller’s background in the Ozploitation scene, known for its low-budget thrills, is evident in Mad Max. Despite its limited budget, the film is a masterclass in raw energy and inventive style. Shot beautifully in a widescreen format, every aspect of production—from costumes and makeup to vehicle design and stunt work—has been meticulously crafted. The film’s success and cult status are a testament to Miller’s vision and the charisma of a then-unknown Mel Gibson.
While vigilante films often carry a right-wing bent, Mad Max doesn’t fit neatly into that mold. The film’s dystopian world is a result of unchecked aggression and hyper-masculine violence, a theme that becomes even more pronounced in the Furiosa films. The original Mad Max captures a society at a breaking point, where lawlessness reigns and ordinary citizens are endangered.
One of the film’s standout sequences takes place in a small town that resembles an Old West setting. Toe Cutter and his gang arrive to retrieve Nightrider’s coffin, and the town’s eerie emptiness evokes the lawlessness of a Western. This scene brilliantly pays homage to the genre while highlighting the breakdown of order and safety in Miller’s dystopian vision.
Mad Max has often been underrated, particularly in America, due to its initial release with dubbed voices and a pan-and-scan format that didn’t do justice to its artistry. However, the film’s lean and efficient storytelling, combined with its high-speed action and emotional intensity, make it a standout in the exploitation genre.
The politics of the Mad Max series are complex and shift with each entry. While the original film features a spirited but ultimately victimized wife, later films introduce stronger female characters like Furiosa. The threat of sexual violence, introduced in the first film, looms over the series, receiving different treatments in each installment.
The action scenes in Mad Max are a testament to Miller’s superb filmmaking. The raw stunt work and cinematic craftsmanship create moments that are hard to believe. The use of an anamorphic lens left behind by Sam Peckinpah adds a layer of visual sophistication, making the film a visual feast.
The villains in the Mad Max series are characterized by their flamboyant, nihilistic behavior, bound together by a love of violence. This theme continues in subsequent films, with each entry introducing new, memorable antagonists.
As we move from Mad Max to The Road Warrior, the continuity between films is loose, but the evolution of Max’s character and Miller’s style is evident. The aggressive yet thoughtful editing and classic approach to action filmmaking remain consistent, grounding the series in a unique cinematic vision.
With Furiosa now in theaters, revisiting the original Mad Max films is not just a nostalgic trip but an essential journey to fully appreciate the rich tapestry of George Miller’s dystopian world.
