Ten -year -old Max Road of Anger; Necessity to remind insanity to action cinema • DigiKala Meg

I remember that when I was heard by Mad Max Fury Road, I had nothing but pessimism and suspicion of it. I told myself that the Ribote is one of the classic post -Akharali -style classic works? Without the presence of Mel Gibson? And in this state of commercial cinema? It is true that George Miller himself was the director and writer of the film, but he hadn’t been to action cinema for decades. At that time, he seemed to be able to recreate the magic of classic Max’s classic films, which was largely dependent on the strangeness of the seventies and eighties.

But then the “road of anger” came and we watched it and we stayed. The Road to Anger is not one of those films to understand its semantic and technical delicacies in a subcutaneous way. This film is not a subcutaneous work; He kicks the door and offers itself to you, so that it can hardly bearned like the accidental accidents inside the film.

In the whole film, there is a special kind of madness that has been observed in less. The characters are weird; Their talking is the same. Even their physical language is different from the physical language of ordinary humans. It is as if George Miller has filmed a series of cavemen. It was as if the actors inside the film temporarily lowered their IKivi so they could play their role. For example, in the character of Max himself, it can be clearly seen that it is difficult for him to speak and prefers to express his purpose through pride. Almost all of the characters (except for the character of Furosa, who Charlize the Thron plays), have a very special non -civilization, which I have not seen in another film like and the like, even in the main “fashion”.

This is how the weird and different from the same early scene of the film, which Max escapes from “War Boys”. In this scene, Tom Hardy, the actress of Max, is not like the moves of Hollywood heroes. The way he escapes is rude. There is no dignity in his movements, and it is clear that the only thing that pushes him is the instinct of survival and physical force.

This is the property of being “rough” in all aspects of the current film. In its evil, in the fictional process, in the dialogues, in the amazing filmmaking of the film, and in all the characters in the film. It is precisely the characteristic of being at the height of the technical skill that has made Max Fashion a particular film, because it was a swimming of the water flow, and people pay special respect for films that are unlikely to swim and swim.

Basically, “Max Fashion” is a film with minimum storytelling and maximum secularization. This is an approach that many video games follow, and it is unnecessary to follow in the movies, but here it has worked. I mean by storytelling and the maximum worldwide is that if you want to define the narrative line of the film from the beginning to the end, you may be able to state it in one or two sentences. The story has no specific narrative screws. But in the context of this straightforward story, there is so much detail that your understanding of the story and its world will go far beyond what is shown in the film.

One of the interesting things that the film does, for example, is that using words and phrases that are unusual to us, it teaches us things about the world of “Max”. For example, the boys of the war, the myths of Immortan Joe, the evil of the film, are constantly talking about Walala waiting for them. Also, the boys of the war are not valuable for their lives, and there is a lot of time to kill their none. Before doing a suicide attack, they shouted, “I see me!” (Witness Me) and the rest of the boys of the war with joy mixed with madness, “We were witness!” (Witness!).

From the combination of these two clues together, we can come to an understanding of this strange cult that is not directly explained in the film itself. Basically, Amarton Joe has created a group of soldiers who are not afraid of death by combining the culture of martyrdom and the hereafter of Scandinavian mythology. Referring to the concept of martyrdom (in the same sense of Witness, which is mostly related to Christianity and Islam), it creates the impression in our minds that the concepts of our world are in a distorted world in this post -Akhar al -Zamani world in which life has come back to their most primitive way, and now they have come to their own way. The most funny is that another promising sentence of this cult is “you will be shiny and chrome” (you will be shiny and chrome), and in some scenes, the boys of the war show their V8 signaling, which actually refers to the V8 engine. This means that in addition to the culture of martyrdom and Valhala in the myths of Nurses, Imorton has also patch the atmosphere of automotive culture to some of his sect’s religious beliefs!

Worshiping a car and engine as an idol is one of the most logical things that war boys do.

The details of the such thing that seem unusual at first glance and increase your curiosity about the world of “Max”. For example, in one part we see a series of hedgehog war cars called The Buzzard, who speaks Russian on the radio of their drivers. (Now why Russian?) In another part where Max’s fashion is connected to the front of one of the boys’ car to be used as a “blood bag”, it expresses the strange word “Confucamus” with absolute helplessness. It seems as if it belongs to Latin, but it has no meaning in that language. Why does Max use a quasi -Latin word instead of curse? Most importantly, who really is the zombie guy that flames his guitar and became one of the most foolish characters in the history of cinema in a matter of seconds?

Undoubtedly one of the most fascinating views of action cinema history

As mentioned, this style of storytelling – in the way you incorporate a series of strange details in the middle of the story and the audience must understand the meaning of their backs by using their inference – rarely appear in the films and is more specific to video games, but George Miller has succeeded in successfully successfully. In Max Fashion, everything is not directly explained, and you will be thrown in the middle of a strange world where all the elements of our world have been compounded and distorted with other elements (including language and culture), as if you are a world of history.

So I do not agree with one of the biggest criticisms of the Max Road of Anger. The criticism is that the story of “Max Fashion” is weak and merely eats the action scenes, because the whole story is that the guards are throwing the car to the point and then seeing the way they went back. That is not the story, but those who make the criticism into the film are not aware that sometimes one of the interesting storytelling techniques is to experience a familiar place and path in a new way (this is another technique that is repeated in video games). Max Fashion also pursues philosophy in storytelling. When the characters come back, everything has changed, and this is not a sign of the story.

This is one of the aspects of “Max Fashion”, which is at least taken in the mainstream discourse on the film. Everyone praises and praises the crazy stomachs of the films, but what has been involved in the famous Max Fashion, in addition to the fantasy, has been Miller’s special approach to storytelling and atmosphere, especially in the Max 2, which was the best film before the Road to Anger.

Tom Hardy succeeded in providing his own interpretation of Max’s fashion personality without being under the shadow of Mel Gibson.

In many respects, “The Road to Anger” follows the same way. All the things Miller wanted to do by making “Max 2” are best implemented in this film. But this film has a fundamental difference with “Max 2”, which is its feminist aspects that have been discussed a lot.

The main trilogy of Max Fashion was not particularly ideological and was merely a man’s attempt to survive and preserve dignity in a cruel world, but “Max Fashion” is clearly a feminist film that was in line with the film’s cinematic discourse.

The film is essentially about a group of women and girls that a dirty and patriarchal man has turned into a sex slave and a hatching machine, and one of these women – Furosa – who is explicitly smarter than others, is trying to save some of these girls from Amerten Joe.

The film’s story is about Furosa’s attempt to save these girls and then destroy the sickly patriarchal system. As many have pointed out, the story’s focus is so much on the issue that Max himself has become a sub character in a film that names his name.

“Blood, Sweat and Chrome: The Crazy and Real Fashion Story of Max Road of Anger” is a book by Kyle Bokonen, which deals with the process of making the film’s overwhelming and crazy film. The film faced so many heavy challenges that it is a miracle to complete it.

Max’s fashion in this film is largely marginalized is a correct criticism, but it is not in conflict with the character of this character. Apart from the first film, where Max wanted to take revenge on her killed woman, she had no specific purpose and mission in her subsequent films, and only responded to what was happening around her. In the second film, for example, his goal is to help people a small settlement, but his motivation is to get gasoline for his car. Max was never supposed to be a complex personality. Like the hero of Western films, he roams in a riot and turbulent world and responds to whatever fate in his path. The movie “The Road to Anger” is no exception; Just the struggle in which Max is caught is more meaningful and heavier than the previous films, so he is less visible.

My account so far is that the Max Fashion films all seem very simple, as if their charm is due to their particular visualism and style, but in the context of storytelling and characterization, and in particular atmosphere, they have a lot to say, especially in style, especially in style. And their role in the memoir of this collection should not be overlooked.

However, it cannot be concealed that the biggest point of this film – the factor that has led to the finger – is the film’s extraordinary replacement. In particular, when I found out that all the cars and stuff in the film were real and the cinematic and CGI tricks (except in the sandstorm scene) I was more surprised, as the design of some movie cars looks very fantasy, and that such a car can really be driven.

But it is useless to talk about stuff, machines, music, audio effects, film masterpiece, and all other technical factors that have led to one of the most crazy action movies in history, because you have to see and experience the film to understand its quality. Our language is incapable of describing the technical achievement that George Miller has achieved with this film, as everything is summarized in detail.

The Max Road of Anger was a new work at the time of its release. Even if you didn’t like it, you could find that you haven’t seen this model so far. But after so many years, there is still no action film that reaches the “road of anger” in all areas – in all areas. The film was so great that even George Miller himself still dare to make an imitation work. The Road to Anger is still unique in the field of action cinema.