Review: Mad Max 2: The Road Warrior (1981) · 2:25am Aug 27th, 2015
In my continuing (and very belated) journey through the world of Mad Max, I have now seen the second entry in the franchise, and the one that most influenced the popular image of Mad Max on our end of the globe (the good old US of A).
The film I'm speaking of is, of course, The Road Warrior, which serves as a perfect sequel to the first film. And, in many ways, serves as a flash forwards of sorts to the absolutely awesome Fury Road, which would be released almost 30 years later.
In many ways, The Road Warrior and Fury Road are very similar. Both have extended chase sequences along the roads, both feature a group of victimized people attempting (and ultimately succeeding) in breaking free from the influence of a local, charismatic war lord, and both feature Max as the reluctant hero, who, despite his own efforts to simply leave, is unable to deny his core humanity, and goes back to help the helpless, even if it's most likely going to get him killed.
The Road Warrior, however, is a smaller scale then Fury Road, mostly due to technological and budgetary limitations. It's story is very similar, with a small gas refinery (a very precious resource in this post apocalyptic Wasteland) being targeted by the local biker gang/BDSM cosplayers lead by the hokey mask wearing Lord Humongous. After a happenstance meeting with The Gyro Captain (a rather spacey man who owns, you guessed it, a gyro copter) who tells Max of the refinery, Max makes his way there, and at first is very reluctant to help them. However, he is convinced not only by their desperate yearning for a better world, but also because he realizes that he himself wants that better world, even in spite of how much the world has completely destroyed anything resembling the happiness he once had.
The best part about all this is how George Miller is able to tell this story almost purely through imagery. Yes, there is dialogue, but in many ways, it isn't entirely necessary. Through the mix of music, camera work and imagery, and an economical narration at the beginning, we learn almost everything we need to know about the world and the characters, and in many ways this film plays like a hyper kinetic silent film. On top of that, the characters of the world, while being broad, almost mythic archetypes, they still feel like human beings, with their own quirks and traits that make them unique, and make you care for them, and invested in their stories.
Mel Gibson only has about 16 lines of dialogue in the film, yet is able to continue to fully and perfectly embody the world weary Max. He's a shell of a man, but a shell that desperately yearns to be whole again, and if that means driving a truck across the Wasteland while being chased by biker BDSM fiends, then so be it. But Max isn't mopey either. He's capable of wry wit and humor, and Gibson is able to make him a supremely relatable everyman who is also one of the greatest badasses to ever walk the earth.
The supporting cast is also great, with props to Vernon Wells as Wez, a manic, blood thirsty henchman of Lord Humongous, who runs around in ass-less chaps and sprouts a mohwk, yet is deeply threatening and disturbing in his wild rampage. Additional props go to Bruce Spence as the Gyro Captain, a flighty (both literally and figuratively) eccentric wanderer who flies in a gyro copter and joins the refinery dwellers, and eventually becomes their leader. He easily could have been quite annoying, but Miller and Spence give him with a charm and likability that helps him avoid the Scrappy Heap.
The film's cinematography, by Dean Semler, is epic in it's scope and use of the frame. Miller and Semler love to film the desert as a massive, sprawling wasteland, barely populated and baking away under the heat of the sun. And when coupled with Australian composer Brian May (no relation to Queen's guitarist) and his score, the film takes on an epic mythic western feel, and really feels big, even though it only runs an hour and a half.
Of course the action sequences are incredible, with Miller being able to perfectly balance handheld camera work with helicopter shots and crane shots, and able to relay the action of the sequence without confusing the audience. It feels visceral and impactful, and really sets the bar for how to orchestrate an action sequence.
So all in all, The Road Warrior is a worthy sequel to the original, building both the world and the story, without alienating new comers, or feeling disconnected from the previous entry. It's a larger, more mythic film, yet touches on many of the same themes and story beats, without feeling like a rehash.
5 out of 5 stars.
Glad you've enjoyed both so much so far! Now, going into Beyond Thunderdome, let me just say this; expect a movie that's not as good as the first two, otherwise you're not going to enjoy it. Also keep in mind a couple other things: (1) Byron Kennedy was dead when it was made, and George Miller was still understandably quite distraught during production over it and even dedicated the film to him, (2) by this point Hollywood was well aware how profitable the previous two movies had been, and with the PG-13 rating still being quite young, was eager to attract as large an audience as possible, (3) it's definitely a product of the 80s, and certain points almost feel like they're a bizarre mix of Miller's post-apocalyptic world with the whimsy of any Steven Spielberg movie starring kids. The most difficult act to get through is by far the second one, but if you can get through that, you should be able to enjoy it for the most part. Also, of all the films, including Fury Road, it's actually my favorite of all four as far as set productions go in realizing the post-apocalyptic world of Mad Max; I think you'll enjoy Bartertown very much, it's incredibly unique and looks just like a place you might visit in the Fallout universe (wouldn't be surprised if it even inspired places like Megaton). If you're willing to forgive that movie for being lesser than the other three going in, you should be able to still enjoy it quite a bit for what it is.
3350293 And I love 80s cheese (Delta Force for example), so I'll probably enjoy it.
And I LOVE Spielberg, so I'm probably not gonna be bothered that much by the kids
3350303
Very good, you should enjoy it then. I figured you would, there's just a lot of people out there who don't like that film, and I think that's unfair. You can say something's not as good as something else in it's property but still like it; ROJ is probably my least favorite of the Original Star Wars trilogy, but I still love the heck out of that film.
Oh, also, look up Bruce Spence and just check out the guy's filmography, the guy has been all over the place and is amazing! He's like a cult-actor who people just love to throw randomly into their films in the most random roles, and I absolutely love him for it!!!