It seems that wisdom comes with age. Not for George Miller. At 35, the man was slightly cracked; 70 is a madman. No sane director could not give birth to the monster that will be presented Thursday at the Cannes Film Festival. Mad Max: Fury Road more than a title, a program. One hundred and twenty minutes hallucinogenic film bulldozer remind the viewer gasping Miller invented everything. Before the post-apocalyptic worlds become Recess over the way Hunger Games before Paul Walker learns to drive “fast and furious”, before the leather becomes the official uniform of leather hard there was Max, Mad Max.
But why so much noise for this story speeder mute? And why does it matter even more than three decades after its conception? “Because George Miller was the first”, we replied Tom Hardy, hero of the new opus. “The first to be asked: what if our society was collapsing, as would happen then” Since then the world is haunted by the vision of its response, a figure as iconic Indiana Jones, though more elusive, than the “road warrior”, the desperado despairs. Eyes and imagine is closed, leaning against the pile of junk that serves as horse silhouette in the dusty desert horizon. “A shell of a man,” states a voice over for description only. Perhaps is it because of its repercussions, “an empty shell”, each can fill it as he wishes. It is the collective unconscious described by Joseph Campbell, loam secular myths.
Phantom Menace
“We need a different kind of filmmakers to reach it . People like Christopher Nolan and George Lucas, the so-called visionaries, “said Tom Hardy, who begins to know it in the matter (he made his classes at Nolan). What some put a lifetime to accomplish, realize them on the first try. But then must live under the weight of their own influence. And God knows that it is nothing more difficult than face his ghost, Star Wars can attest.
By submitting cover, 30 years after the “We Do not Need Another Hero” Tina Turner Beyond Thunder Dome , George Miller took the risk to denigrate himself. “I was very aware he confided recently. Mad Max 2 in 1981, the cinema was less than a century. It has now 120 years, the difference is huge. Many things have changed. The genus postapocalyptic has become, well, a genre already. (…) The cinema has evolved, tool, language, syntax. Everything is faster more truncated, more settled, we had a total intransigence aesthetically. ”
Hard Rock
Uncompromising, Mad Max: Fury Road is the definitely. “Relentless” even, says Tom Hardy, hired to replace Mel Gibson considered too old. Because Miller did not want a nostalgic film. Resolutely contemporary (and devilishly feminist!), This fourth episode could actually stand on its own. And therein lies the genius of the Australian master instead of reinventing his work, invent new cinema. Resume traditional techniques and push towards ever achieved by the pure digital modernity. “90% of what you will see on the screen really happened”, will have been constantly repeating ourselves Hardy, still visibly moved to have played hung in front of a racing car going at full speed at the edge of the explosion.
The result is a hard rock concert deafening images. George Miller, who considers the 7th art as “visual music” embodies the metaphor also placing at the heart of his fantastic ride a flame thrower guitarist. In his brief moments of lucidity, the viewer glued by adrenaline thought he attends a gigantic circus. But Buster Keaton in Ben-Hur, does not arise and the most memorable scenes from the big screen?
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