Director:
George MillerGuión:
George MillerCámara:
David EggbyMúsica:
Brian MayReparto:
Mel Gibson, Joanne Samuel, Steve Bisley, Paul Johnstone, Nick Lathouris, Hugh Keays-Byrne, Roger Ward, Reg Evans, Jonathan Hardy, John Ley, Brendan Young (más)Streaming (4)
Sinopsis(1)
Mel Gibson se convirtió en una estrella internacional tras su primera colaboración con el director George Miller, en uno de los mitos cinematográficos más populares de todos los tiempos. En un mundo futurista, la sociedad se encuentra en una decadencia total. Las autopistas que van de una ciudad a otra se han convertido en una auténtica pesadilla, proporcionando un escenario adecuado para un pasatiempo mortal y apocalíptico entre bandas de salvajes motoristas y un grupo de policías. Gibson interpreta a Max Rockansky, un audaz policía que libra una persecución espectacular con los motoristas asesinos que eligieron como blanco a su familia. (Warner Bros. España)
(más)Videos (1)
Reseñas (8)
En una Australia aún no muy postapocalíptica, un Max Rockatansky aún no muy loco corre en su coche «Interceptor», luchando contra moteros punk y dando lugar a una de las obras más distintivas de la frenética Ozploitation, y lanzando a Mel Gibson entre las estrellas de la interpretación. Para alguien puede ser una vieja, barata y simple película de venganza, para mí es una película de acción fundamental, icónica e increíble llena de acrobacias para la que siempre me gusta encontrar tiempo. Comparada con las secuelas y el remake puramente posapocalípticos, es una película muy diferente, pero es un original memorable.
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The fact that this is a ninety-minute revenge movie with a prologue of over an hour is, unfortunately, the result of the film's directorial unevenness. It is unable to rely on a simple script but rather focuses on the arrangement of chases between a motorcycle gang and the police. There are plenty of them in the film, but their quality is highly inconsistent. Some of the shots with clearly predictable camerawork look a bit rough nowadays. Still, hats off go to the professional drivers and stuntmen who did an excellent job. The cheapness is acknowledged in this film, so we can’t be angry about it and, given its budget, we must simply nod in approval. However, the soundtrack is as annoying as ever.
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The script of this semi-amateur and underfunded brutality is as holey as the Titanic after colliding with an iceberg, with dialogues at the level of pub regulars after fifteen beers, acting performances like at a school assembly, and more clichés than one can possibly think of in the respective genre. However, for those who are satisfied with a glimpse of powerful machines and need to release a bit of adrenaline, they may end up being satisfied in the end. From the perspective of film history, it is only important in that the film marked the beginning of Mel Gibson's career. Overall impression: 25%.
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A classic with a number of very evocative and raw scenes, which is so beautifully B-movie cheap in places that I can't fault it. The only thing that spoils it for me are the sped-up "action" shots, but actually they belong to it too. Mel Gibson, especially in the finale, gives a great performance and you believe everything about it. When I first saw Mad Max, it was the gritty ending that made me want to see it again and again. However, the second part is much better in every conceivable way.
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Mad Max first stormed into movie theatres forty years ago and cinema has never been the same since. The first film was largely derived from the trash revenge thriller genre of the day, but updated it with the setting of a society collapsing into ruin. Together with a charismatic protagonist who also falls into ruin, the original and powerful plot made the film an international hit. In the first film, Max Rockatansky is still working as a highway patrolman and taking care of his family. But the world around him is dominated by lawlessness and the city and highways are terrorised by a ruthless motorcycle gang. How long can a man resist the terror around him before he gives in to the madness of rage and revenge? _____ The Mad Max franchise established the form of the post-apocalyptic action genre and left an indelible mark on the dusty road of global pop culture. At the same time, however, its individual parts also comprise a polemic against the contemporary trends not only in action films, but in mainstream cinema as a whole. While other filmmakers were copying Mad Max, its creator, director and screenwriter, George Miller, was constantly reimagining his protagonist and pushing him in new directions. In addition to that, he also challenged the narrative boundaries of the genre and the practical possibilities of action films. Miller succeeded in creating four diametrically different and always completely original concepts of the lone warrior character, as well as of the world after the end of civilisation and of the new societies that rise on the old ruins. His ambitious vision was brought to life in breathtaking ways thanks to the stunt masters and choreographers of the action scenes, as well as the professionals from the production-design and costume departments, whose work was later adored by an entire subculture. Rather than one continuing story, the Mad Max franchise presents four captivating and distinctive variations on the theme of the hero, the post-apocalyptic world and the conflict between darkness and hope, as well as strong women and the reasons for which one is forced to fight. (Annotation for the series marathon at Kino Aero, 2019)
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