To understand Miller’s vision in all its glory, it is best to start with the original “Mad Max,” which still feels chilling 44 years since its release. Miller keeps things fairly simple compared to the adrenaline-fueled sequels, focusing on Max Rockatansky (Mel Gibson), who is forced to go sicko-mode by the end of the third act. Max’s motive is revenge, as he needs to punish those who took everything from him, and every emotion is primarily conveyed through sight and sound, where dialogue takes a backseat in this visceral portrait of brutality. Put together on a shoestring budget, “Mad Max” is one of those films that attain more layers in hindsight, as it essentially sowed the seeds for a universe bound to stun and arrest our attention.
While “Mad Max” is more of a cultural landmark in post-apocalyptic filmmaking, its sequel, “Mad Max: The Road Warrior,” solidifies the “Mad Max’ legacy by pitting Max against a band of unruly marauders. Here, the combat sequences are more gritty, and the worldbuilding is more intense, highlighting the ruthless nature of the terrain that the inhabitants are forced to call home. This is a worthy follow-up with a flawed treatment of characters, where much of the nuance is lost due to a hyperfocus on a heroic figure with a one-track mind.
However, once you watch the third installment, “Beyond Thunderdome,” it becomes clear that the franchise’s strength is its worldbuilding, where structures like the gladiator-style Thunderdome immediately achieve iconic status. While this entry is rather flawed and inconsistent story-wise, the lead-up to “Fury Road” makes this chaotic journey worth it, as it opens avenues to a world with rich, layered characters and an unforgettable sage about violence and identity.
