MAD MAX (1979)

 

 

PHENOMENALITY: *marvelous*
MYTHICITY: *fair*
FRYEAN MYTHOS: *adventure*
CAMPBELLIAN FUNCTIONS: *sociological*

I've never been a big fan of the original MAD MAX. I like all of the sequels to some extent, and I appreciate that the film launched the career of Mel Gibson. But as a lifelong afficianado of science fiction, I 've never liked the way George Miller's initial opus gets labeled a "post apocalyptic world." The idea explored in later films, that fossil fuels have been depleted-- possibly by warfare-- is barely addressed in the original movie. 

The dynamic is perhaps more evident within the Aussie culture. The continent consists of a handful of big cities sprinkled around a vast and unforgiving landscape, and so the citizens are arguably more dependent on their vehicles than the citizens of the U.S. One online essay claims that the Aussies were particularly affected by the 1973 OPEC oil shortage, and that Miller's image of insane drivers, fetishizing their vehicles as they speed aimlessly through the Australian deserts, is a recapitulation of the "road rage" that pervaded the country during the shortage.

That said, I'm not claiming that Americans or anyone else are insensible to "car-philia." If that were the case, the original film could not possibly have enjoyed international success, no matter how little its original cost. In addition, there's no question that even if Miller had no interest in sci-fi elements, he knew just how to pull off the kinetics of high-powered vehicles pursuing one another along open desert roads. 

The basic aesthetic of MAD MAX is that of the western. Highway patrolman Max Rogatansky (Gibson) is a married cop with a baby on the way, and he's mightily tempted to hang up the crimefighting gig for the pleasures of regular life. To prevent this, nasty bikers led by "Toecutter" (Hugh Keys-Byrne) step up their attacks, both on ordinary citizens and on other highway patrol officers. This leads to a tragic fate for Max's family and his commitment to revenging himself on the bikers.

MAX is a grimy, visceral thriller. It's not particularly original, but it did give rise to the much better sequels, which in my opinion are the main reason that the original is still remembered. (Note: Alan Moore almost certainly swiped the climactic revenge-scene in MAX for a corresponding sequence in WATCHMEN.)