Mad Max Beyond Thunderdome was released in Australia on 10 July 1985. The film received generally positive reviews from critics. A fourth film, Mad Max: Fury Road, was released in 2015, starring Tom Hardy as Max.
Plot
The world is a post-apocalyptic wasteland caused by ecocide and a nuclear war over resources.[5] In Australia Max Rockatansky is crossing the desert in a motor vehicle pulled by camels. The airborne bandit Jedediah and his young son attack him and steal his vehicle, and Max follows Jedediah's trail to a trading post called "Bartertown". Initially refused entry because he has nothing to trade, he impresses the local officials with his toughness, and the founder and ruler of the town, Aunty Entity (Tina Turner), offers to resupply him if he completes a task.
Aunty explains that Bartertown's precious energy comes from a subterranean refinery, called "Underworld", that turns pig feces into methane. The refinery is run by a resourceful dwarf called Master, who rides around on Blaster, his giant bodyguard. "Master Blaster" has begun to challenge Aunty for control of Bartertown, and she wants Max to kill Blaster so she can more easily subvert Master to her will.
Max infiltrates Underworld to size up Master Blaster and befriends Pig Killer, a convict sentenced to work there for slaughtering a pig to feed his children. When Master Blaster learns his newly-acquired vehicle belonged to Max, he forces Max to disarm a booby-trap. In doing so, Max sets off his alarm and discovers that Blaster is hypersensitive to high-pitched noises.
Back on the surface, Aunty tells Max that, by law, conflicts in Bartertown are resolved by a fight to the death in a gladiatorial arena called Thunderdome. Max publicly accuses Master of stealing his vehicle, and a battle is scheduled against Blaster. The giant dominates until Max blows a bosun's whistle, which makes Blaster grab his head in pain. Max knocks Blaster's helmet off and prepares to kill him, but relents upon seeing that Blaster has an intellectual disability. Max reveals Aunty's plot and Master threatens to shut down the refinery, so Aunty has Blaster killed. She is then able to terrorize Master into keeping the refinery running.
For breaking a deal, Max is bound, placed on a horse, and sent into the Wasteland (Gulag), his punishment determined by the spin of a wheel. When the horse collapses from exhaustion, Max frees himself and continues on foot until he also collapses.
A warrior girl called Savannah Nix finds Max near death and hauls him back to her home, an oasis called "Planet Erf", populated by a primitive tribe of teenagers and children. The children are descended from survivors of a crashed Boeing 747, some of whom left to seek help and never returned. They believe Max is the pilot, "Captain Walker", come to fix the aeroplane and fly them to the fabled "Tomorrow-morrow Land". Max denies he is Walker and insists there is no longer any civilisation like that in their stories. Disillusioned, a group of teenagers and children led by Savannah wants to attempt the journey to Bartertown, but Max stops them and has them tied up, saying everyone should go on living in the oasis.
During the night, the separatists escape. Max agrees to bring them back, taking a few members of the tribe along, but both parties are in bad shape by the time he catches up. Out of supplies, Max is forced to lead the contingent back to Bartertown.
The combined group sneaks into Underworld and, with Pig Killer's help, frees Master and escapes in a modified truck down some train tracks, destroying the refinery and most of Bartertown in the process. Aunty orders her forces to pursue and retrieve Master, and Max and his group do their best to fight off the attackers. They come across Jedediah and his son, whom Max coerces into providing a ride in their aeroplane. With the approach of Aunty's army shortening the runway, Max gets in his vehicle, which a child stole from one of Aunty's men, and crashes it to create an opening so the plane can take off. Injured and alone, Max is spared by an impressed Aunty, who leaves to rebuild Bartertown.
Jedediah flies Master, Pig Killer, and the separatists to the ruins of Sydney. Years later, they have established a small community with other wanderers. While they attempt to rediscover the knowledge of the pre-apocalyptic world, each night Savannah recites the story of their journey, and they light up the city as a beacon for Max or any other travellers to follow. Max wanders in the Wasteland, alone.
Cast
Mel Gibson as "Mad Max" Rockatansky, a lone warrior who was an MFP (Main Force Patrol) officer before the collapse of society. Aided by his small pet monkey, he roves the desert Wasteland aimlessly, his existence entirely based around self-sufficientsurvival.
The Flying Jalopy
Bruce Spence as Jedediah, the marauding pilot of a small plane, who trades stolen goods in Bartertown. Spence previously played "The Gyro Captain" in Mad Max 2, and said about his casting in this film: "They were well into the shoot when they offered me a part described as 'not the Gyro Captain but kind of like the Gyro Captain!'... they said there's kind of a reflection of him and that they were having difficulty casting the role so they thought to themselves, 'Why not Bruce!'"[6]
Adam Cockburn as Jedediah Jr., who often helps his father steal supplies and flies his father's aeroplane while Jedediah Sr. procures the goods.
The People of Bartertown
Tina Turner as Aunty Entity, the ruthless, determined ruler of Bartertown. Aunty is a glamorous, Amazon-like figure who recognises the strength of character in Max and hopes to exploit his physical power to bring Master under her control. Despite her brutality and Bartertown's chaos, Aunty is an intelligent, cultured woman, who holds a hope of one day rebuilding society to its former glory. Regarding the character, Miller said: "We needed someone whose vitality and intelligence would make her control over Bartertown credible. She had to be a positive character rather than a conventional evil 'bad guy.' We had worked on the script with [Turner] in mind. But we had no idea if she'd be interested."[7]
Frank Thring as The Collector, who runs Bartertown's trade and exchange network.
Angelo Rossitto as The Master, a diminutive former-engineer who used his technical expertise to build the methane extractor responsible for Bartertown's electricity. At some point, he began riding around on the shoulders of Blaster for protection, and he has grown power-crazed, frequently humiliating Aunty by forcing her to publicly state that "Master Blaster runs Bartertown." After Blaster is killed, Master becomes a far more subdued, humble character, and eventually escapes with the help of Max, Pig Killer, and the children.
Paul Larsson as The Blaster, Master's enormous, silent bodyguard, who is revealed to have an intellectual disability. He keeps his face covered by a helmet and carries Master around on his shoulders. Max fights him in Thunderdome as part of Aunty's plot against Master.
Angry Anderson as Ironbar Bassey, the head of Bartertown's security and Aunty's top henchman, who comes to dislike Max progressively more as the film proceeds. He is a fierce warrior despite his short height, and his outfit includes a white mask on a pole strapped to his back, at about the level of the faces of the other male characters. His biggest ability is physical resilience. After suffering much abuse and surviving several nearly-fatal encounters with the heroes, he is last seen giving the finger from the wreck of the brutal climactic crash.
Robert Grubb as Pig Killer, a convict in Bartertown sentenced to shovel pig feces in the methane refinery for the crime of killing a pig to feed his children. He befriends Max when Max goes to Underworld to size up Blaster before their fight, and when Max and the children return to rescue Master, Pig Killer escapes with them.
George Spartels as Blackfinger, the head mechanic in Underworld.
Edwin Hodgeman as Dr. Dealgood, Bartertown's flamboyant auctioneer and judge.
Bob Hornery as Waterseller, a man who tries to sell Max radioactive water.
Andrew Oh as Ton Ton Tattoo, Aunty's saxophone player.
The Tribe Who Left
Helen Buday as Savannah Nix, one of the oldest members of an isolated primitive tribe of teenager/child survivors of a plane crash (or the children of those survivors). She and Slake ensure the tribe remembers its oral tradition through "Tells" (recitations of their mythical origin and salvation narrative). After Max denies he is the fabled Captain Walker, she leads a contingent of the tribe out into the Wasteland to try to reach Bartertown.
Mark Spain as Mr. Skyfish, a child who flies a feathered kite and has matted hair that sticks out to the sides
Mark Kounnas as Gekko, a child with an injured leg who wears a headset and carries a stick with a record attached to the end. In a deleted scene, Gekko dies in the desert before the group reaches Bartertown, which is why he is absent from the rest of the film.
Rod Zuanic as Scrooloose, a mute and alienated teenager who paints his face white with black around the eyes. He's the outcast of the Planet Erf tribe. Scrooloose is capable to replicate anyone else's skills, including driving a vehicle.
Justine Clarke as Anna Goanna, the child who first tells Max that Savannah and the others have escaped into the Wasteland to try to make it to Bartertown.
Shane Tickner as Eddie, the smallest child who later catches up and joins the rescue party. He carries around a koalaplush toy.
Toni Allaylis as "Cusha... the pregnant girl".
James Wingrove as Tubba Tintye, the hunter sent with Max and Anna Goanna, as a rescue party, when they go after Savannah and the others.
Adam Scougall as Finn McCoo, the child who is the first to hear Savannah when she initially returns with Max and later is swallowed by a sinkhole in the desert.
The Tribe Who Stayed
Tom Jennings as Slake M'Thirst, the leader of the Planet Erf tribe.
Production
Beyond Thunderdome was the first Mad Max film made without producer Byron Kennedy, who had been killed in a helicopter crash in 1983.[8] Director George Miller was hesitant to continue without his producing partner, saying later: "I was reluctant to go ahead. And then there was a sort of need to – let's do something just to get over the shock and grief of all of that."[9] There is a title card at the end of film before the credits roll that reads: "...for Byron".[10]
Miller co-directed the film with George Ogilvie, with whom he had worked on the 1983 television miniseriesThe Dismissal. About this decision, he said: "I had a lot on my plate. I asked my friend George Ogilvie, who was working on the mini-series, 'Could you come and help me?' But I don't remember the experience because I was doing it to just... You know, I was grieving."[11] For the film, Miller and Ogilvie employed a group workshopping rehearsal technique that they had developed.[12]
Exterior location filming took place primarily in the mining town of Coober Pedy, though the set for Bartertown was built at an old brickworks (the Brickpit) at Homebush Bay in Sydney's western suburbs, and the children's camp was in the Blue Mountains.[12][13] According to cinematographer Dean Semler, "Mad Max Beyond Thunderdome proved far more challenging than Mad Max 2. We were dealing with more varied environments than before and it was essential that each of the worlds created for the film have a distinctly different look."[14]
"We Don't Need Another Hero (Thunderdome)" reached #1 in Canada, #2 in the US, and #3 on the British single charts. "One of the Living" was rerecorded for single release, and it reached #15 in both Canada and the US, but only #55 in Britain. At the 28th Annual Grammy Awards, "One of the Living" won the award for Best Female Rock Vocal Performance.
A soundtrack album was released by Capitol Records in 1985. It included Turner's songs alongside an instrumental version of "We Don't Need Another Hero (Thunderdome)" on Side 1, and some of Jarre's music on Side 2. A double CD containing only Jarre's original music was issued in 2010 on Tadlow Music/Silva Screen Records.[18]
Reception
Box office
Although the film's budget was larger than that of its predecessors, its box office yield was only moderate in comparison.[12] It grossed A$4,272,802 at the Australian box office,[19] less than what Mad Max made and less than half of what Mad Max 2 made.
In the United States and Canada, the film grossed $36 million,[20] generating theatrical rentals of $18 million. Outside of the U.S. (including Australia), it earned a similar amount, giving it worldwide rentals of $36 million.[3]
Critical response
Critical reaction to the film was generally positive, although reviewers disagreed over whether they considered the film to be the highest or lowest point of the Mad Max trilogy. Most of the negative criticism focused on the children in the second half of the film, whom many found too similar to the Lost Boys from the story of Peter Pan.[21] Robert C. Cumbow of Slant Magazine identified "whole ideas, themes and characterizations" adopted from Riddley Walker, a 1980 post-apocalyptic novel by Russell Hoban.[22]
On the other hand, there was much praise for the scene in the Thunderdome, which Roger Ebert of the Chicago Sun-Times called "the first really original movie idea about how to stage a fight since we got the first karate movies" and "one of the great creative action scenes in the movies".[23] Ebert awarded the film four out of four stars and later placed it on his list of the ten best films of 1985.[24]Variety wrote that the film "opens strong" and has good acting from Gibson, Turner, and the children.[25]
Some fans of the series have criticised the film for being "Hollywood-ized" and having a lighter tone than its predecessors.[26][27][28]
On review aggregator website Rotten Tomatoes, the film holds an 81% approval rating based on 54 reviews, with an average score of 6.5/10; the website's "critics consensus" reads: "Beyond Thunderdome deepens the Mad Max character without sacrificing the amazing vehicle choreography and stunts that made the originals memorable".[29]
As with the previous installments of the Mad Max series, Beyond Thunderdome has influenced popular culture in numerous ways. Of particular note is the widespread use of the term "thunderdome" to describe a contest in which the loser suffers a great hardship.[30]
American filmmaker Chris Weitz has cited the film as an influence.[31]
Related Research Articles
George Miller is an Australian filmmaker, best known for his Mad Max franchise, whose second installment, Mad Max 2, and fourth, Fury Road, have been hailed two of the greatest action films of all time, Fury Road winning six Academy Awards. Miller is very diverse in genre and style as he also directed the biographical medical drama Lorenzo's Oil, the dark fantasy The Witches of Eastwick, and the Academy Award-winning animated film Happy Feet, produced the family-friendly fantasy adventure Babe and directed the sequel Babe: Pig in the City.
Mad Max is a 1979 Australian dystopian action film directed by George Miller, who co-wrote the screenplay with James McCausland, based on a story by Miller and Byron Kennedy. Mel Gibson stars as "Mad" Max Rockatansky, a police officer turned vigilante in a near-future Australia in the midst of societal collapse. Joanne Samuel, Hugh Keays-Byrne, Steve Bisley, Tim Burns and Roger Ward also appear in supporting roles.
Mad Max 2 is a 1981 Australian post-apocalyptic dystopian action film directed by George Miller, who co-wrote it with Terry Hayes and Brian Hannant. It is the second installment in the Mad Max franchise. The film stars Mel Gibson reprising his role as "Mad Max" Rockatansky and follows a hardened man who helps a community of settlers to defend themselves against a roving band of marauders.
The trunk shot is a cinematic camera angle which captures film from inside the trunk of a car. Though the trunk shot can be produced by placing the camera inside the trunk, the considerable bulk of a conventional movie camera and camera operator makes this difficult. Therefore, the shot is usually "cheated" by having the art department place a trunk door and some of the trunk frame close enough to the camera to make it appear to be shot from within a car. The trunk shot is a specialized type of low-angle shot.
Bruce Robert Spence is a New Zealand-born Australian actor. Spence has amassed over 100 film and television credits and has also acted in theatre.
Master Blaster may refer to:
The Pursuit Special, also referred to as the Last of the V8 Interceptors, is the iconic black GT Falcon muscle car featuring a distinctive supercharger driven by the title character Mad Max during much of the Mad Max franchise, where it appears in Mad Max, Mad Max 2: The Road Warrior and in Mad Max: Fury Road, as well as both video games.
Max Rockatansky is the title character and antihero protagonist of the Australian post-apocalyptic action film series Mad Max. Created by director George Miller and producer Byron Kennedy, the character was originally played by actor Mel Gibson in the first three films from 1979 to 1985, and later Tom Hardy in the fourth in 2015.
"One of the Living" is a song written by Holly Knight and produced by Mike Chapman. It was recorded by American singer Tina Turner for the soundtrack album to the 1985 film Mad Max Beyond Thunderdome, which starred Mel Gibson and Turner. It was one of two songs which Turner recorded for the film, the other being "We Don't Need Another Hero (Thunderdome)".
Mad Max Beyond Thunderdome (Original Motion Picture Soundtrack) is a soundtrack album for the 1985 film Mad Max Beyond Thunderdome. The album was originally released in 1985 on the Capitol Records label and reissued numerous times on different labels.
Mad Max is a media franchise created by George Miller and Byron Kennedy. It centers on a series of post-apocalyptic and dystopian action films. The franchise began in 1979 with Mad Max, and was followed by three sequels: Mad Max 2, Mad Max Beyond Thunderdome (1985) and Mad Max: Fury Road (2015); Miller directed or co-directed all four films. Mel Gibson portrayed the titular character Max Rockatansky in the first three films, while Tom Hardy portrayed the character in Mad Max: Fury Road.
The Mad Max series of films, which debuted in 1979, has had a significant impact on modern popular culture. Mad Max references are deeply embedded in popular culture; references to its dystopian, apocalyptic, and post-apocalyptic themes and bizarre landscape and desolate wasteland imagery have inspired some artists to emulate the look and feel of some aspect of the series in their work.
Kennedy Miller Mitchell is an Australian film, television and video game production house in Potts Point, Sydney, that has been producing television and film since 1978. It is responsible for some of Australia's best-known and most successful films, including the four Mad Max films, the two Babe films, and the two Happy Feet films.
Mad Max: Fury Road is a 2015 Australian epic post-apocalyptic action film co-written, co-produced, and directed by George Miller. Miller collaborated with Brendan McCarthy and Nico Lathouris on the screenplay. The fourth instalment in the Mad Max franchise, it was produced by Village Roadshow Pictures, RatPac-Dune Entertainment and Kennedy Miller Mitchell, and distributed by Roadshow Entertainment in Australia and by Warner Bros. Pictures internationally. The film stars Tom Hardy and Charlize Theron, with Nicholas Hoult, Hugh Keays-Byrne, Rosie Huntington-Whiteley, Riley Keough, Zoë Kravitz, Abbey Lee, and Courtney Eaton in supporting roles. Set in a post-apocalyptic desert wasteland where petrol and water are scarce commodities, Fury Road follows Max Rockatansky (Hardy), who joins forces with Imperator Furiosa (Theron) against cult leader Immortan Joe (Keays-Byrne) and his army, leading to a lengthy road battle.
Mad Max is an action-adventure video game based on the Mad Max franchise. Developed by Avalanche Studios and published by Warner Bros. Interactive Entertainment, it was released for PlayStation 4, Windows, and Xbox One in 2015. Feral Interactive published the game's Linux and macOS versions. In the game, players control Max Rockatansky as he progresses through the wasteland building a vehicle, the "Magnum Opus", to do battle with a gang of raiders, led by Scabrous Scrotus, and to reach the storied "Plains of Silence", where he hopes to find peace. Mad Max emphasizes vehicular combat, in which players can use weapon and armor upgrades on their car to fight enemies. It is set in an open post-apocalyptic wasteland consisting of deserts, canyons, and caves.
Doug Mitchell is a film producer.
Margaret Sixel is an Australian and South African film editor. She is best known for her work as editor on her husband George Miller's films, including Babe: Pig in the City (1998), Happy Feet (2006), and Mad Max: Fury Road (2015). For Fury Road, she won the Academy Award for Best Film Editing and the BAFTA Award for Best Editing.
Mad Max: Fury Road is a limited comic book series created by George Miller, Nico Lathouris and Mark Sexton. Serving as a prequel to the 2015 film of the same name, in addition to bridging the events of the film with the 1985 film Mad Max Beyond Thunderdome, the series focuses on several characters from the film at various points in their lives before it.
"We Don't Need Another Hero (Thunderdome)" is a song written by Graham Lyle and Terry Britten. It was recorded by American singer Tina Turner for the soundtrack album to the 1985 film Mad Max Beyond Thunderdome, which starred Mel Gibson and Turner. On the heels of Turner's multiplatinum album Private Dancer (1984), the song was released as a 7-inch single, an extended version was released as a 12-inch single and on the film's soundtrack album. In the United Kingdom, a shaped picture disc was also issued. The power ballad received a Golden Globe Award nomination for Best Original Song and a Grammy Award nomination for Best Female Pop Vocal Performance. As songwriters, Lyle and Britten received the Ivor Novello Award for Best Song Musically and Lyrically.
The following is a list of unproduced George Miller projects in roughly chronological order. During a career that has spanned over 40 years, George Miller has worked on projects which never progressed beyond the pre-production stage under his direction. A few of the projects were made after he had left production.
↑ Valls Oyarzun, Eduardo; Gualberto Valverde, Rebeca; Malla García, Noelia; Colom Jiménez, María; Cordero Sánchez, Rebeca, eds. (2020). "17". Avenging nature: the role of nature in modern and contemporary art and literature. Ecocritical theory and practice. Lanham Boulder NewYork London: Lexington Books. ISBN978-1-7936-2144-3.
↑ Edwards, Phil (September 1985). "Mad Max: Beyond Thunderdome". American Cinematographer. 66 (9). Archived from the original on 4 July 2015. Retrieved 13 May 2015.
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