Popular Culture Review Vol. 3, No. 2, August 1992 | Page 57
The Transformation of Mad Max
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nuclear war Charles Bronson figure of the Death Wish movies, to an
unwilling self-sacrifice and the continuing desire to be alone and selfsufficient, like Shane, to a final conunitment to the future of the race,
and a self-sacrifice that will allow this. The Mad Max films, then
move from the simplistic biker gang nonsense of the first film,
through an increasing complexity and strange murderous revenge
motif, to a joyful participation in fte rebirth of decent human society;
from a devastated landscape to the reclamation of farms and cities;
from the death of a child, to the births of babies of the cargo cult clan
and the promise of a future for all children.
Westminster College
Patricia Frazer Lamb
Filins:
Mad Max.
George Miller, director. Australia: Kennedy-Miller
Productions, 1979. James McCausland and George Miller,
screenwriters.
Mad Max: Beyond Thunderdome. George Miller and George Ogilvie,
directors. Australia: Kennedy-Miller Productions, 1985. Terry
Hayes and George Miller, screenwriters.
The Road Warrior. George Miller, director. Australia: Kennedy-Miller
Productions, 1981. Terry Hayes, George Miller and Brian
Hannant, screenwriters.