The ‘terminal psycho’ Nightrider (Vincent Gil) is on the run
in Australia, after breaking out of jail and killing a novice cop. His escape
is short-lived, however, when Main Patrol Force officer Max (Mel Gibson) causes
Nightrider to crash and die. In the face of endless bureaucracy and mad drivers,
Max fears that he will become a terminal psycho and considers quitting the MPF,
to spend more time with his wife Jessie (Joanne Samuel) and his kid. However Nightrider’s
death has put Max and his partner Goose (Steve Bisley) squarely into his biker gang’s
sights, with their leader Toecutter (Hugh Keays-Byrne) vowing to get revenge
for Nightrider.
Mad Max was a phenomenal
commercial success when it was first released, making over 100 million dollars worldwide
on a budget of 400,000 dollars. A big part of its success was the practical
stunts involving cars and motorcycles and George Miller’s direction, both of
which still hold up over thirty years later. The action on the road is exhilarating,
especially with the shots of the road rushing up towards the viewer. Some of
the stunt-work is wince-inducing, as characters are flipped off their
motorcycles, cars plow through caravans and men are crushed under lorries. All
of this is conveyed using long shots to establish the aftermath of the
destruction and rapid cutting of wide eyes, crumpled metal and blood during a
violent crash. David Eggby’s cinematography is kinetic and captures the mad sensibility
of the wild post-apocalyptic Australian outback.
Where Mad Max
falters is in its narrative and pacing. After an explosive beginning, the film
spends a substantial amount of time setting up for Max’s revengeful rampage in
the last twenty minutes. Consequently, Mad
Max begins to slow down, with Toecutter and his gang only catching up to Max
and Goose half-way through the film, resulting in a distinctive lack of tension
until we reach the farm-house scene. It’s a shame because George Miller created
a great world for his film, which we never fully experience because of the
focus on Max and Jessie’s relationship, in order to make Max’s breakdown more
tragic. There’s a dark humour in the ever-growing list of new rules announced
over the loudspeaker at the MFP headquarters. A torn-off hand is marked down
for ‘lost property’ by a nonchalant patrol officer. Even when gangs are roaming
the Australian roads wreaking havoc, the MFP has to keep its paperwork clean. When
Toecutter has his revenge on Max, we believe Max’s anguish but we are not invested
in his personal tragedy.
Mel Gibson has a likeable screen presence as Max, but never
quite fully realises his character’s arc. Gibson is convincing as a loving
husband and a wrathful avenger, but not as a man struggling against insanity.
Joanne Samuel is the protective mother Jessie, who has her moments of astuteness.
Hugh Keays-Byrne steals the film as The Toecutter, a hissing maniac who commands
a threatening presence. Shelia Florence also shines in her role as May, a smart
farm-owner who knows how to hold a gun.
Mad Max possesses
some excellent stunt-work and great direction, but lacks a compelling narrative
to accompany it.
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