30 years after the last film became a cult post-apocalyptic franchise, directed by George Miller returns to the once created they dystopian vision of the future world. For a world in which civilization has collapsed, and the land turned into a boundless barren desert, and the roads have lost their sanity savages rushing on cars.
“Road rage” introduces us to nonmortal Joe – man, created in the midst of the chaos of the whole militarized state, where he is revered as God, the lord of the sun. He anemic young soldiers are ready to go for the sake of their leader to die in the hope to get to Valhalla, paradise for the valiant warriors. The power he holds due to huge reserves of water, which he sometimes shares with his emaciated from hunger and thirst subjects, production of mother’s milk and catch the universal blood donor, helping to stand up the fighters. One such donor is Rokatanski Max.
Joe was old, it needs a healthy heir. He keeps locked up five sexual slaves, which is used for procreation. One of his generals, Furioso, forced to serve him for a long time, the truck runs on alert, taking the “wives” of his former master. Finding missing, nonmortal convene all his troops and sent on the heels of the fugitives. The hero, a traveler is in the midst of this conflict, and must choose a side, on which he will fight.
The plot of the new “Mad Max” does not seem convoluted, but, due to the shape, finds unexpected shades. First of all, it is a massive, fascinating kinozrelische. Massive Action symphony, composed by the artist perfectionist. Armada of the amazing cars, led by the crazed dictator, is rapidly moving beyond the heroes under the drumming and the roar of electric guitars. Brave stunt risk their lives, performing virtuoso tricks. Machinery hover around each other in a deadly dance in the midst of the sands.
Narrative language director – installation and visual. You will not find too long exposure and a variety of dialogues. Ball ruled the action of His Majesty, concentrated full. Miller throws the viewer into his arms from the first minutes and reduces speed, it seems, never during the entire timing. The picture can say, is built around a grand chase than reminiscent sensational “Gravity,” two years ago, is conceptually a long hour and a half of space flight.
The director seems to have brought here a principle of the action sequences, for which the audience liked the old Mad Max movies, to a new level. Constant stress, a sense of persecution, a constant feeling of danger looming on the main characters, their mortality and vulnerability – all this attracts the chair does not look away from the screen. The operator John Force to shoot a picture of chaos and destruction in bright red paint orandzhevato future plans, allow you to see what is happening in all its glory, and the Dutch Junkie XL illustrates their energetic compositions even more involved in the action.
But the really surprising finding here a simple plot of interesting subtexts that occurs mainly due to visual images, synthesis of form and content. The director criticizes towards the cult of personality and shows the pointlessness of self-sacrifice in the name of any ideology. Nonmortal Joe exalts himself to the rank of a living deity, wearing a threatening mask with protruding teeth and plastic armor, resembling Roman, without them is feeble old man, rotting alive, trying unsuccessfully to have a healthy heir. He powders brains to their followers, causing them to believe in the heavenly courts, giving them illusory hope, for which they are ready for everything. People are turned into puppets, cannon fodder, albeit in travel expenses.
The main characters are resolved on an extremely risky gamble for the ray of light in this dark world, the myth of fruitful green earth, to which they aspire, but eventually forced to choose more difficult and radical solution to their problems. Touched upon here and the theme of sexuality. Five girls, who owned and operated things like pass through emancipation, are strong personalities. Two key hero: a man and a woman coming together in order to survive, are more complex than they appear at first glance. Furioso, remarkably played by Charlize Theron, who as a child was abducted from the house, trying to find his homeland and receive expiation for all that she has done under the command of a monster. Max, in the form of Mel Gibson which adequately replaced by Tom Hardy also seek redemption. At the beginning of the tape we find it wild, wild, he could hardly say it and then visit the disturbing visions of people he could not save. Acquainted with his companions to help them, he regains the lost humanity. The interest here is anemic, and one of the soldiers by Nicholas Holt passing through identity, changing their beliefs.
“Mad Max: Fury Road” recalls the indomitable force of nature, the living, throbbing. Colossal Mahina, which incorporates the best features from its three predecessors, is racing at an incredible speed under the roar of the engines, sweeping away everything in its path. A generous and inventive attraction, whose appearance in the studio under the strict one can not be surprised. The persistent 70-year-old director seventeen years nurtured her child, having, it seems, through all stages of production hell, but achieved his goal. All I want to say is now: “It was not in vain!”
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