A veteran policeman, Murtaugh, is partnered with a younger, suicidal officer, Riggs. They both have one thing in common: hating working in pairs. Now they must learn to work with one another to stop a gang of drug smugglers.
Taking place in a dystopian Australia in the near future, Mad Max tells the story of a highway patrolman cruising the squalid back roads that have become the breeding ground of criminals foraging for gasoline and scraps. When his wife and child meet a grisly end at the hands of a motorcycle gang, Max sets out across the barren wastelands in search of revenge. Written by
In a 2015 interview with The Q&A with Jeff Goldsmith podcast, George Miller said that it was not the intention when the script was written, to set it in a post-apocalyptic world. This was done because they didn't have the money for extras and properly maintained buildings. In order to cover for this production value limitation, the title card was added to the beginning, explaining the story was set after a world war. This also accounts for why there is generally more of an established society in this film, then any of the sequels. See more »
Presumably the supercharger was switched off to save fuel, which would work because the engine would stall. The "blower" would not allow the fuel/air mixture to pass into the engine. The only way that the car would move under its own power would be if the compressor housing was fake and there was a carburetor hidden inside the housing. See more »
Dr. George Miller's low budget Mad Max franchise impacted on Australian culture and altered the perception of Australia and Australians overseas in a way that no other Australian film had done. The films explores themes such as 'man and the environment', 'fear provoking post-apocalyptic future, family', 'masculinity in crisis', 'good versus evil (Max as an iconic hero), Australian ethos and car culture; themes often featured within Australian films yet presented in a stark and dramatic way. The cinematographic impact is powerful; the human and emotional appeal is timeless.
Australia's barren deserts presented the ideal setting for a post-apocalyptic environment. The film set is more identifiable as Australia as it was filmed around the city of Melbourne. Long deserted roads feature significantly in the film and the cinematographic device of taking long distant shots of Max demonstrates how small he is in the scale of the environment that he is living. It is a relentless, unforgiving environment which demands defeat or survival and marks the characters which play upon its stage.
Just as the physical setting is stark and desolate, the time setting and its associated events create an atmosphere of fear and foreboding which plays on the minds and emotions of contemporary viewers. In this fear provoking post apocalyptic future the few survivors of the nuclear holocaust are in warfare with one another, the rebel bikers and the police.
Good versus evil is a dominant discourse in many film genres and one which embraces the Australian ethos. Max possesses some highly valued "Australian" traits; in particular, those of the underdog, the battler, the hero. External forces beyond his control stop him from "winning" completely. Contrary to the Hollywood hero, the Australian hero is a pawn in the game of others, which explains why Max can never quite "win" in absolute terms. There is little public glorification of success in Australia; heroes are remembered for their style rather than for their achievements. (Venkatasawmy, 1996) Mad Max represented a tradition hero, a hero to whom many diverse cultures are able to relate, as a story of a lone hero is a story that goes back through centuries of storytelling, and as a consequence the film achieved colossal success within Australian and around the world. The Australian cultures and lifestyles shown throughout these films give Australians an understanding of their country in the landscape, the language, and the way we treat people, life and life in exceptional circumstances.
Reference Venkatasawmy, R. (1996), Australian Film in the Reading Room: The Hybridity of Film-making in Australian National Cinema: Formulating a Cinematic Post-Diaspora. Retrieved March 14, 2005, from http://wwwmcc.murdoch.edu.au/ReadingRoom/rama/CHAPT4.htm
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