When I first saw Mad Max, it seemed straightforward to my teenage eyes: a revenge movie, like the Charles Bronson vehicle, Deathwish or, more upmarket, Martin Scorsese’s Taxi Driver. Yet it also seemed both less than those films (and their many imitators) since the exposition was perfunctory and the characterisation minimal; and also more, because we could fill in so much of the movie’s morality ourselves. The MM1 has something of Picasso’s Guernica about it, a montage of images through which violence is mediated, the impact not so much linear (as in narrative) but holistic (as images connect, then slide away). It helps that the film is remarkably beautiful to look at, every shot soaked in an exotically other Australianess that is also present in another violent movie that is much more than it appears on the surface, Chopper.
But what of Politics of Mad Max seen with eyes now 34 years older? Much has been made of Mad Max: Fury Road’s lead character, Charlize Theron’s Furiosa, a woman who, like Robert De Niro’s Travis Bickle, would not take it any more. She doesn’t attempt to assassinate the President – instead she makes a break for a mythical rural idyll with his most prized possession: five women (The Wives) who look like they’ve wandered in from a Helmut Newton shoot (and, along for the ride, two men). One of those is Max himself, looking after Number One as usual, but more explicitly buying into Furiosa’s dream than he did Pappagallo’s in MM2. This may be the softening of Max’s heart by the recognition of a kindred spirit in Furiosa (and lest we forget, her extreme beauty, though he is unmoved by Newtonish models after a first lustful look), but it’s also an important clarification of Max’s motives as they have developed from MM1 through MM2 to MM:FR.
MM:FR is firmly fixed in the dystopian novel / film genre, but it is not nihilist in its depiction of its world. Not only does Max edge towards Furiosa’s idealism, Nux, the would-be suicide bomber, is also won over (perhaps a little too glibly) to Furiosa’s cause by the gentle hand of one of The Wives (and, a little, by his own disillusionment with his brainwashing). This may be just another re-working of John Lennon’s “All You Need Is Love” but it’s an important message about the redeemable nature of human beings, one all the more important in an age of religion-inspired terrorism when even a court in Boston can calmly sentence a man barely out of childhood to be executed by the State. The left-leaning viewer can have their qualms about MM:FR, but can also relax knowing that the film is, at the very least, open to an interpretation with which they can be comfortable.
MM2 is the most conventional of the three films under discussion (click here for my reviews of MM1 and MM2 and MM:FR), a conventional tale of a town under siege needing heroic sacrifice to be saved. The good guys are recognisably modern democratic people, fighting anarchy not with greater anarchy or authoritarian clampdowns, but with the solidarity that a shared and decent culture brings. The key question is whether you believe that Max knew what he was doing when he offered to drive the rig in the final chase – I suspect he did, seeking redemption for his failure to protect his own child in MM1 by saving the Feral Kid, with his music box (the music box reappears in MM:FR, a nice touch). Again, a message that the politics of the Left (if not the politics of pacifism) can feel at ease with.
Which brings me back to MM1 – is it just another yarn about a vigilante standing in for a state that was too weak to protect his wife and kid? There’s plenty that says yes, including the greasy lawyers getting the bad guys off and the overwhelming outnumbering of the police by the crazies. But is there also a reluctance too, an absence of joy in Max’s retribution, a longing for the domesticity that has now gone forever, casting him out into the Outback, shutting out the bad dreamtime as much as he can? This is not the tease of “Do you feel lucky punk?”, it’s a hollowed out man, finding a way back to himself.
Well, maybe – but perhaps a leftist sensibility can only enjoy MM1 as a guilty pleasure – as it does American Sniper and many movies (and the novels of Evelyn Waugh and much else). Not so MM2 and MM:FR. For all the uber-violence, these movies bear messages that support a leftist Weltanschauung. Pleasures without the guilt.