In May of last year, MAD MAX: FURY ROAD was released in the theaters, and it felt like a welcome punch to the face. We had not seen such a fast-pace, thrilling film with heavy substance in a long time. The film is stylish, the effects are largely practical, and its feminist voice rings so clear it would be very difficult to plausibly deny. Since then, much has been written about the film’s commentary on the role of women. This includes the role of women both in the film (Furiosa, her clan of warriors, and the breeders) as well as the women behind the scenes (in regards to Hollywood’s mostly male movie-making machine). Rather than add to the chorus of writing itemizing and idolizing the innate feminism of George Miller’s latest (all of which is richly deserved, mind you), I’d rather take a little time to look at the other half of gender representation in the film. Namely, how does MAD MAX: FURY ROAD construct masculinity?
Tag: George Miller
When MAD MAX: FURY ROAD premiered this past May, the critical response was overwhelmingly positive. The film, directed by George Miller, was much better than a reboot of a decades-old franchise had any right to be. It featured a strong feminist backbone to go with the mind-blowing action choreography and breakneck pace. FURY ROAD was declared an action masterpiece, distinguishing itself from other blockbusters where female characters were props or damsels.
In preparation for our Mad Max Weekend, we’ve compiled a selection of reviews and articles on all four films. Enjoy!
“I had a dream, which was not all a dream.
The bright sun was extinguish’d, and the stars
Did wander darkling in the eternal space,
Rayless, and pathless, and the icy earth
Swung blind and blackening in the moonless air”
From the poem, “Darkness” by Lord Byron (1-5).