Directed by: George Miller
Distributed by: Roadshow Film Distributors
Written by Nick McCann
73/100
Post-apocalypse fiction owes its style in part to George Miller. Leather-clad figures of justice, endless desert landscapes, a harsh culture, and survivors losing their humanity as time passes. Anything in that vein can be traced back to the former ER doctor’s landmark action series that started with a genre and generational-defining film.
Compared to the grander desolate scopes of the later films, this version of the apocalypse is much more restrained. Albeit still on the ragged edge of collapse and a brutal world for our characters to navigate. Admittedly, the story does have trouble maintaining momentum when cars aren’t getting wrecked. You can tell Miller and company are progressively feeling out their direction. “Mad Max” is quite strong when it fires on all cylinders, letting visuals tell the story and convey the bleakness. I live for the guerilla filmmaking nature of it all. It culminates in a stand-out revenge narrative that’s ushered in a grit factor that action films continue to adopt and rarely match.
Mel Gibson leads as Max in an outstanding debut performance. Sometimes, he can look a little boyish for the setting, but he’s a vulnerable everyman, struggling not to turn into the vermin he chases after. The rest of the cast do nice jobs playing into their respective side of the apocalypse spectrum. Steve Bisley is a jovial presence who’s equally intense when pushed. Joanne Samuel brings a calm charm to her side of the narrative. The real standout though, is Hugh Keays-Bryrne as the Toecutter. He may not have the resources of villains in later entries, but his charismatic menace makes him a real live wire.
Vehicular carnage is the name of the game. From the get-go, the action scenes are of a distinct craft for the era and still hold up. A low budget doesn’t stop the car chases from feeling fast and ferocious. Stunt work looks gnarly. Watching these machines getting wrecked repeatedly is immensely satisfying to this day. The cinematography nicely accentuates the intensity and speed, along with sharp editing that can ramp up suspense sometimes in a near-instant. Even the series tradition of sped-up footage is wisely used to keep up the progression. Brian May’s score also lays big and brash compositions, driving home the shock and melancholy of what’s on screen. “Mad Max” may not have the spectacle or scale of later entries, but the action leaves a firm mark and sets the tone for the film’s world.
To say this has fed the imaginations of many is an understatement. “Mad Max” is as classic of a genre film as it gets. It still influences all forms of art to this day, even as its own series progresses. Sure, it may not have the narrative refinement or an abundance of on-screen chaos as its sequels. But it’s a striking action picture that can put the pedal to the medal in more ways than just the driver’s seat—a fine testament to making something big with limited resources.
“Mad Max” Trailer
You can connect with Nick on his Facebook and Letterboxd.