Mad Max from 1979 and Fury Road from 2015 have little dialogue; We take a look at why the creator of the franchise, George Miller, made this decision.

The original Mad max and the 2015 sequel Path of fury They both feature very little dialogue, but why was this decision made by the creator of the franchise, writer / director George Miller? Released in 1979 to rave reviews, the scanty and bleak revenge thriller Mad max has very little in common with its eventual 2015 sequel Path of fury at first glance, but the two share an obvious trait: minimal dialogue.

The revenge thriller starring Mel Gibson sees a warring cop trying to keep the peace in a crime-ridden city, only to end up embarking on a bloody quest for revenge when a criminal gang takes aim at his partner and family. It’s a grounded, realistic thriller that is nothing like the later post-apocalyptic action thriller. Path of fury, which sees the same main character involved in a plan to extract a harem of hostages from the spooky desert hideout of the warlord and ensure safety in a distant oasis, the Green Place.

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However, while Path of furyThe exaggerated and extremely stylized action is a far cry from Mad max’s muted realism, there is one thing that ties the two films together. Both the original Mad max Y Path of fury It features almost no dialogue, and the simple stories in each film are told almost entirely in visual terms. According to director George Miller, who directed both radically different installments of the series, this choice was intentional. Miller claimed that he wanted the movies to be “silent movies with sound,” an apparent oxymoron which meant that his goal was to mimic the hyper-visual and stunt styles of Harold Lloyd and Buster Keaton, keeping dialogue to a minimum and making sure the story is keep it simple, emotionally intense and easy to follow.

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The focus was necessary for the original, since Mad max ‘The very limited budget meant that recording too much dialogue would have been prohibitively expensive. The few lines the film features are well used, and the unforgettable villain Toecutter gets most of the memorable lines (outside of Gibson’s central twist, which is to say, the creation of stars). However, the initially hands-on approach ended up proving so artistically effective that Miller revisited this strategy in the film’s critically acclaimed sequels.

First Mad max sequel, 1981’s The road warrior, leaned heavily into focus, narrowing the dialogue down to a few dozen lines and, as a result, won critical acclaim. The second sequel Beyond Thunderdome It featured much more exposure, and the change was met with the worst reviews in the franchise. Path of furyThe return to a lighter style of dialogue resulted in the best reviews received by the Mad max franchise so far. Path of furyThe construction of the almost dialogue-free world was so impressive that it went on to influence Bong Joon-Ho’s Oscar-winning class satire. Parasite years later, with the director saying that he admired how much aired without speech on the Mad max Intense, propelling action driven by the image of delivery.

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