Mad Max: Fury Road (2015)

dystopia, fucking awesome, fucking beautiful, George Miller, review, Tom Hardy

mad_max_fury_road_whv_keyartIt’s been 30 years since Mad Max Beyond Thunderdome was released and the continuation of the franchise has been brewing for a fucking long time. George Miller first had the idea for a fourth instalment in 1998 but it has taken 17 years for that seed to grow into the bat-shit crazy tree that is Mad Max: Fury Road. With Tom Hardy taking over from Mel Gibson, Fury Road has more in common with the second film than the third. During the final moments of The Road Warrior, our hero is pursued by a violent gang whilst driving an oil tanker to safety. In his update, Miller has stretched that concept to a full-length film and if that sounds like a flimsy premise then fear not.

Fury Road is high-octane, non-stopping action from the first scene to the very end and its fucking spectacular. What is lacks in dialogue and intricate narrative, it more than makes up for with dazzling stunts and awe-inspiring visuals. The chaos is continual and during the first half hour or so there isn’t even time to draw breath. The film is one long chase sequence that feels more like a silent movie than the post-apocalyptic blockbuster we’re used to these days.

Tom Hardy is the almost silent, brooding Mad who is chased by the ghosts of his past. Taken prisoner by Warlord Immortan Joe (Hugh Keays-Byrne, who played Toecutter in the original film) and his War Boys. During one of his many escape attempts, Max is fated to become entangled with fellow rebel and escapee, Furiosa (Charlize Theron). Employed to lead raids and transport commodities like fuel and bullets, the warrior has finally had enough of Joe’s tyranny and agrees to transport his harem of young, beautiful women to safety, whilst being chased by a whole host of supercharged and heavily armed vehicles.

Tom Hardy is commanding in the title role and brings about a brooding intensity that works well. He slowly and uncomfortably eases into the role of action hero but, for the most part, is pretty impassive. The problem is, Max isn’t really the film’s lead; that honour can only be given to Charlize Theron as the tough, resilient and memorable Furiosa. It is her inner drive that fuels the film not Max’s. With plenty of possible connections to Sigourney Weaver’s Ripley in Alien, Theron is on top-form here. Without the words to back it up, the actress shows everything she need with a simple look.

It’s impossible to ignore the fact that women define Fury Road in way that the genre isn’t really used to yet. Furiosa is a women who certainly doesn’t let her sex define her but she does embrace it. She has hope that future generations can have a better future and does what she must to protect that. This is a film oozing with messages and images of female empowerment as women are inherently the ones who keep hope alive. Amongst all of the testosterone filled, macho nonsense we see from Joe and his War Boys, Fury Road is actually an enlightened answer to the genre norms. It is something that has caused quite a stir with some hardcore action junkies.

Which is utter bollocks for a number of reasons but mainly because the action is never pushed aside to make way for a debate about gender. This film offers spectacular pacing, sound design, editing and music are all miles better than one could hope for with a film of this type. The first chase sequence is one of the best action sequences in film history and that’s just Miller’s warm-up. Just when you think the team have pulled off the greatest stunt of all time something better will come along almost instantly. It is a film that keeps on pushing itself further until it eventually runs out of time.

Fury Road is also one of the most visually stunning films you could ever hope to meet. The design is so detailed and intricate that it demands multiple viewings to take it all in. From the simple colour change between orange during the day and blue at night to the grotesque bodies Miller delights in parading in front us, Fury Road is fucking beautiful, man. The CGI backdrop is like a fucking painting with its whirlwinds and dust storms providing the perfect canvas for the relentless car-chase. And Miller makes use of it too. He creates the tension he needs through overhead shots and wide-angles that define the dimensions of the action on screen. We can see exactly how far away the pursuit vehicles are and how quickly they’ll catchup. It’s fucking terrifying.

As a director who’s work has inspired so many contemporary filmmakers, Miller has taken a step to show that, whilst he is still working from the same sheet as before, he is never one to rest on his laurels. There is no sense of repetition from his earlier films as Miller has once again redefined his futuristic landscape. Miller has taken the action template that he helped to create and has updated it. Whilst the credits were rolling in the cinema after my viewing, a teenage boy sat next me to lamented that the film was a cliché that relied too heavily on explosions and deaths. Yes, there are dozens of car crashes, explosions and dead bodies in Fury Road but there is never any sense of repetition.

Mad Max: Fury Road is the kind of film that Michael Bay and his followers wish they could produce. What seems like nothing more than explosion porn is a sophisticated film that deserves to be celebrated. We may walk out of the cinema knowing almost as much about the society we were introduced to as we did going in but it’s fine. This shouldn’t, in any way, be seen as a lack of substance: Miller is a shrewd director who knows that stopping for long soliloquies of exposition wouldn’t work. The landscape we are viewing is a harsh one where its inhabitants must use their energy for survival rather than idle chit-chat. The stripped to bones plot and dialogue is as much of an indicator of the world we have accelerated into as anything shown on screen. Mad Max: Fury Road is a film full of split-second decisions where every bullet, every drop of water and every single moment counts. Mad Max: Fury Road is a film that has no time for bullshit of any kind; it’s the fucking real deal.

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