Mad Max 2: The Road Warrior
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The film was released on 24 December 1981 to widespread critical acclaim, with particular praise given to Gibson's performance, the musical score, cinematography, action sequences, costume design and sparing use of dialogue. It was also a box office success, and the film's post-apocalyptic and punk aesthetics helped popularise the genre in film and fiction writing. At the 10th Saturn Awards, the film won Best International Film and was nominated for five more awards: Best Director, Best Actor for Gibson, Best Supporting Actor for Bruce Spence, Best Writing, and Best Costumes for Norma Moriceau. Mad Max 2 is widely hailed as both one of the greatest action movies of all time and one of the greatest sequels ever made,[6] and fan clubs for the film and \"road warrior\"-themed activities continue into the 21st century.
Papagallo and the three settlers are killed and the Gyro Captain is shot down. Max turns the truck around and, as he is fighting with Wez, Humungus collides with the truck head on, killing Wez and himself. The truck rolls off the road and the surviving marauders survey the scene and leave. As Max carries the Feral Kid from the wrecked tanker, he sees sand, not oil, leaking from the tank. The Gyro Captain drives up and takes Max and the Feral Kid to rendezvous with the settlers, who transported the fuel in oil drums inside their vehicles.
The film's depiction of a post-apocalyptic future has so widely influenced other filmmakers and science fiction writers that its gritty \"junkyard society of the future look ... is almost taken for granted in the modern science-fiction action film.\"[4] The dystopian, apocalyptic, and post-apocalyptic themes and imagery in the Mad Max series of films have inspired some artists to recreate the look and feel of some aspects of the series in their work, and fan clubs and \"road warrior\"-themed activities continue into the 21st century.
Narrator: My life fades. The vision dims. All that remains are memories. I remember a time of chaos... ruined dreams... this wasted land. But most of all, I remember The Road Warrior. The man we called \"Max.\" To understand who he was, you have to go back to another time... when the world was powered by the black fuel... and the desert sprouted great cities of pipe and steel. Gone now... swept away. For reasons long forgotten, two mighty warrior tribes went to war, and touched off a blaze which engulfed them all. Without fuel they were nothing. They'd built a house of straw. The thundering machines sputtered and stopped. Their leaders talked and talked and talked. But nothing could stem the avalanche. Their world crumbled. The cities exploded. A whirlwind of looting, a firestorm of fear. Men began to feed on men. On the roads it was a white line nightmare. Only those mobile enough to scavenge, brutal enough to pillage would survive. The gangs took over the highways, ready to wage war for a tank of juice. And in this maelstrom of decay, ordinary men were battered and smashed... men like Max... the warrior Max. In the roar of an engine, he lost everything... and became a shell of a man... a burnt-out, desolate man, a man haunted by the demons of his past, a man who wandered out into the wasteland. And it was here, in this blighted place, that he learned to live again.
The movie takes place at a point in the future when civilization has collapsed, anarchy and violence reign in the world, and roaming bands of marauders kill each other for the few remaining stores of gasoline. The vehicles of these future warriors are leftovers from the world we live in now. There are motorcycles and semi-trailer trucks and oil tankers that are familiar from the highways of 1982, but there are also bizarre customized racing cars, of which the most fearsome has two steel posts on its front to which enemies can be strapped (if the car crashes, the enemies are the first to die).
The road warriors of the title take their costumes and codes of conduct from a rummage sale of legends, myths, and genres: They look and act like Hell's Angels, samurai warriors, kamikaze pilots, street-gang members, cowboys, cops, and race drivers. They speak hardly at all; the movie's hero, Max, has perhaps two hundred words. Max is played by Mel Gibson, an Australian actor who starred in \"Gallipoli.\" Before that, he made \"Mad Max\" for the makers of \"Mad Max 2,\" and that film was a low-budget forerunner to this extravaganza of action and violence.
Max's role in \"Mad Max 2\" is to behave something like a heroic cowboy might have in a classic Western. He happens upon a small band of people who are trying to protect their supplies of gasoline from the attacks of warriors who have them surrounded. Max volunteers to drive a tanker full of gasoline through the surrounding warriors and take it a few hundred miles to the coast, where they all hope to find safety. After this premise is established with a great deal of symbolism, ritual, and violence (and so few words that sometimes we have to guess what's happening), the movie arrives at its true guts.
The director of \"Mad Max 2,\" George Miller, compares this chase sequence to Buster Keaton's \"The General,\" and I can see what he means. Although \"The General\" is comedic, it's also very exciting, as Keaton, playing the engineer of a speeding locomotive, runs an endless series of variations on the basic possibilities of two trains and several sets of railroad tracks. In \"Mad Max 2,\" there is basically a truck and a road. The pursuers and defenders have various kinds of cars and trucks to chase or defend the main truck, and the whole chase proceeds at breakneck speed as quasi-gladiators leap through the air from one racing truck to another, more often than not being crushed beneath the wheels.
The film's comic-book post-apocalyptic style affectionately dubbed \"diesel punk\" popularized the post-apocalyptic genre in film and fiction writing. The film eventually became a Cult Classic: fan clubs and \"road warrior\"-themed activities still occur in the 2000s.
Before the production, George Miller asked the actors to create character back-stores in order to inform their performances. Notable back-story examples include Wez being an ex-Vietnam veteran and the Gyro Captain a used car salesman or a PR consultant.[8] The movie was storyboarded at least two days ahead of filming on set.[9] Storyboards were then distributed to the crew, most of which were burned to warm themselves up during filming in the middle of Australian winter. Cinematographer Dean Semler, however kept all the rough storyboards till this day. The movie was shot in continuity, which was a 'big deal' back then, but the remote filming location presented itself with a lot of logistical problems. So called 'rushes' (raw footage) were only available for viewing after a week from filming, which in turn made Miller fully rely on his cinematographer if the shots were done right. The amount of stunts and the distance between the nearest hospital proved a bit of a challenge as well, especially after two failed stunts - one involving Max Aspin (The Moat Jump) and Guy Norris (\"Cannonball Jump\"). The filming philosophy for Mad Max 2 was different from Mad Max in a way that Miller realized a lot of shots in the first movie were too static, so he added that shake, sometimes artificially, to certain shots. Byron Kennedy also noted that there is not a single action shot where the camera is on the side of the road, the camera is either actually in the car or travelling with another car[10]:
The film begins as Max clashes with a team of marauders, led by biker warrior Wez (Vernon Wells). After driving off the gang, Max collects the gasoline from one of their wrecked vehicles and continues on. As Max continues to comb the desert wastelands, he comes upon a seemingly abandoned autogyro and investigates. The autogyro's pilot (Bruce Spence) has in fact set a trap with a poisonous snake; but Max and his dog outwit and overpower the Gyro Captain. To stay alive, the pilot tells Max about a small working Oil Refinery nearby in the wasteland.
Despite his injuries, Max insists on driving the freshly-repaired truck with the fuel tanker. He roars out of the compound in the now heavily-armored truck, with the feral kid hanging on for dear life on the back of the truck, several settlers in armored positions on the tanker, and Pappagallo driving a powerful escort vehicle for company, he is pursued by the wasteland warriors in their heavily modified cars and motorbikes. Over-head the Gyro Captain follows the prolonged and violent chase in his gyro-copter. One by one the settlers on the tanker are killed, as is Pappagallo. The Gyro Captain also crashes as his engine is hit by arrows from a dart gun.
Back at the refinery but intercut with the tanker pursuit, a handful of marauders seize the empty compound, and discover to their misfortune that the refinery is rigged to explode. Max and the feral kid find themselves alone against the remaining marauders, who continue their savage pursuit. Wez boards the truck and almost slays the two survivors, but a head-on collision with Humungus obliterates both villains. Max loses control of the tanker and it rolls off the side of the road.
The main gate of the settlement is a Commer School Bus with jury-rigged plate metal armour. This bus is also the main escape vehicle for the settlers at the end of the film. Several of the besieging warriors' vehicles appear to be of the same type as seen used as police pursuit cars in the first Mad Max film. While the depiction of gang members using similar vehicles and even wearing police biker helmets and jackets has led some fans on chat websites to speculate that some of the gang members are police officers-gone bad, there is no support for this theory from the script.
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