In a self-destructing world, a vengeful Australian policeman sets out to stop a violent motorcycle gang.

Director:

George Miller

Writers:

James McCausland (screenplay), George Miller (screenplay) | 2 more credits »
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Popularity
816 ( 136)
5 wins & 7 nominations. See more awards »

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Cast

Cast overview, first billed only:
Mel Gibson ... Max
Joanne Samuel ... Jessie
Hugh Keays-Byrne ... Toecutter
Steve Bisley ... Jim Goose
Tim Burns ... Johnny the Boy
Roger Ward ... Fifi
Lisa Aldenhoven ... Nurse
David Bracks ... Mudguts
Bertrand Cadart ... Clunk
David Cameron ... Underground Mechanic
Robina Chaffey ... Singer
Stephen Clark Stephen Clark ... Sarse
Mathew Constantine Mathew Constantine ... Toddler
Jerry Day ... Ziggy
Reg Evans ... Station Master
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Storyline

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. After some grisly events at the hands of a motorcycle gang, Max sets out across the barren wastelands in search of revenge. Written by Cole Matthews

Plot Summary | Plot Synopsis

Taglines:

He rules the roads. See more »


Certificate:

R | See all certifications »

Parents Guide:

View content advisory »
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Did You Know?

Trivia

This was one of the first Australian films to be shot with a widescreen anamorphic lens, although The Cars That Ate Paris (1974) was shot in anamorphic four years earlier. George Miller's desire to shoot in anamorphic made him seek a set of Todd-AO wide angle lenses used by Sam Peckinpah to film The Getaway (1972), which were damaged enough in that shoot to get discarded in Australia. The only one which worked properly was a 35mm lens which was employed in the whole of the film. See more »

Goofs

When Max and Jessie first take off for their vacation, it's just the two of them (no baby). There's no baby anywhere when they're on the beach initially either. The baby first appears at the junk yard, when Jessie tells Max that she's going to buy an ice cream cone. See more »

Quotes

Goose: [describing the supercharged Interceptor that's idling, in particular the supercharger itself] You can shut the gate on this one, Maxie... it's the duck's guts!
Barry, MFP Garage Mechanic: [excitedly] She sucks nitro... with Phase 4 heads! 600 horsepower through the wheels! She's meanness set to music and the bitch is born to run!
Goose: [looking at Max just staring at the engine] He's in a coma, man!
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Alternate Versions

Japanese DVD features the original Australian dialog and contains the original theatrical trailer. See more »

Connections

Referenced in True Romance (1993) See more »

Soundtracks

Prince Eugene's March
Composed by Andreas Leonhardt
[Austrian military march]
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User Reviews

 
The Potential of the Australian Film Industry
8 April 2005 | by MrBenWhiteSee all my reviews

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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Frequently Asked Questions

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Details

Country:

Australia

Language:

English

Release Date:

21 March 1980 (USA) See more »

Also Known As:

Mad Max See more »

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Box Office

Budget:

$300,000 (estimated)

Gross USA:

$8,750,000

Cumulative Worldwide Gross:

$8,773,197
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Company Credits

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Technical Specs

Runtime:

| (special edition)

Sound Mix:

Mono | 4-Track Stereo (Japan theatrical release)| Dolby Digital

Color:

Color (Eastmancolor)

Aspect Ratio:

2.39 : 1
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