IMDb > Mad Max (1979)
Mad Max
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Mad Max (1979) More at IMDbPro »

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Overview

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Up 4% in popularity this week. See why on IMDbPro.
Director:
Writers:
James McCausland (screenplay) &
George Miller (screenplay)
(more)
Contact:
View company contact information for Mad Max on IMDbPro.
Release Date:
12 April 1979 (Australia) See more »
Tagline:
He rules the roads. See more »
Plot:
A vengeful Australian policeman sets out to avenge his partner, his wife and his son whom were murdered by a motorcycle gang in retaliation for the death of their leader. Full summary » | Full synopsis »
Awards:
4 wins & 5 nominations See more »
User Reviews:
The Potential of the Australian Film Industry See more (241 total) »

Cast

  (in credits order) (verified as complete)

Directed by
George Miller 
 
Writing credits
James McCausland (screenplay) &
George Miller (screenplay)

Byron Kennedy  story (uncredited)
George Miller  story (uncredited)

Produced by
Byron Kennedy .... producer
Bill Miller .... associate producer
 
Original Music by
Brian May 
 
Cinematography by
David Eggby (director of photography)
 
Film Editing by
Cliff Hayes 
Tony Paterson 
 
Art Direction by
Jon Dowding 
 
Costume Design by
Clare Griffin 
 
Makeup Department
Vivien Mepham .... makeup artist (as Viv Mephan)
Ben Taylor .... hair dresser
 
Production Management
John Hipwell .... unit manager
 
Second Unit Director or Assistant Director
Steve Connard .... second assistant director
Ian Goddard .... first assistant director
Des Sheridan .... third assistant director
 
Art Department
Steve Amezdroz .... assistant art director
Richard Francis .... props
Stuart Beatty .... sign painter (uncredited)
Rudy Mineur .... sculptor (uncredited)
 
Sound Department
Ned Dawson .... sound effects
Roger Savage .... post-production sound: A.A.V. Australia
Mark J. Wasiutak .... boom operator (as Mark Wasiutak)
Gary Wilkins .... sound recordist
 
Special Effects by
Chris Murray .... special effects
 
Visual Effects by
Roger Cowland .... visual effects (uncredited)
Richard Wilmot .... optical effects operator (uncredited)
 
Stunts
Chris Anderson .... stunt team
Dale Bensch .... stunt team
David Bracks .... stunt team
Phil Brock .... stunt team
Michael Daniels .... stunt team
Gerry Gauslaa .... stunt team
Terry Gibson .... stunt team
George Novak .... stunt team
Grant Page .... stunt coordinator
Grant Page .... stunt team
 
Camera and Electrical Department
David Cassar .... grip
Lindsay Foote .... gaffer
Harry Glynatsis .... camera assistant
Noel McDonald .... grip
Garry Plunkett .... best boy
Tim Smart .... clapper loader
Tim Smart .... photographer: second unit
Chic Stringer .... still photographer
 
Costume and Wardrobe Department
Merran Kingsford-Smith .... wardrobe
 
Editorial Department
Margaret Cardin .... negative cutter
 
Music Department
Nic Gazzana .... cabaret music
Brian May .... conductor
Mal Capewell .... musician (uncredited)
Gary Costello .... musician (uncredited)
Robert John .... musician (uncredited)
 
Other crew
Shirley Ballard .... script supervisor
Stuart Beatty .... traffic supervisor
Ray Beckerley .... vehicle designer
Tom Broadbridge .... production assistant
Jenny Day .... production coordinator
Lex Glouchewera .... electronics
Bill Gooley .... laboratory consultant: Colorfilm
Noel L. Harman .... financial consultant
Andrew Jones .... traffic supervisor
Stephen O'Hare .... truck coordinator
Robert Orchard .... mechanic
Bill Owen .... titles
Clive Rowell .... mechanic
Murray Smith .... mechanic
 
Thanks
George Barbera .... the producer gratefully acknowledges the assistance of
Frank Matich .... the producer gratefully acknowledges the assistance of: Bell Helmets
 
Crew believed to be complete


Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
Runtime:
88 min | USA:93 min (special edition)
Country:
Language:
Color:
Color (Eastmancolor)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Certification:
Argentina:X (original rating) | Argentina:16 (re-rating) (1999) (uncut) | Argentina:18 (re-rating) (1982) (cut) | Australia:R | Australia:MA (Cable TV rating) | Brazil:16 | Canada:R | Canada:18+ (Quebec) | Canada:18A (special edition) | Finland:K-18 | France:X (original rating) | France:16 (re-rating) | Germany:BPjM Restricted | Ireland:18 | Italy:VM18 | Netherlands:16 | New Zealand:(Banned) (original rating) | New Zealand:R18 (re-rating) | Norway:18 | Portugal:M/18 | Singapore:NC-16 | South Korea:18 | Spain:18 | Sweden:(Banned) | Sweden:15 (TV rating) | UK:18 | UK:X (theatrical rating) | UK:18 (cut) (1986) | USA:R | USA:TV-MA (cable rating) | West Germany:18

Did You Know?

Trivia:
Because he was relatively unknown in the US, trailers and previews did not feature Mel Gibson, instead focusing on the car crashes and action scenes.See more »
Goofs:
Continuity: In the beginning of the movie, the camera pans toward Roop while he is sitting atop the concrete wall looking through the rifle scope, it can be seen that his left pants leg is cut/damaged above the knee. Next scene he is running toward the police car, there is no damage to the pants.See more »
Quotes:
Nightrider:The Toecutter - he knows who I am. I am the Nightrider! I am the chosen one. The mighty hand of vengeance, sent down to strike the unroadworthy! I'm hotter than a rollin' dice. Step right up, chum, and watch the kid lay down the rubber road, ride to freedom!See more »
Movie Connections:
Soundtrack:
Jessie's ThemeSee more »

FAQ

What is Mad Max about?
What are the differences between the old BBFC 18 Version and the R-Rated Version?
What year does this film take place in?
See more »
41 out of 63 people found the following review useful.
The Potential of the Australian Film Industry, 8 April 2005
Author: Ben White from Australia

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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