Mad Max: Fury Road – Extended Cut

Thanks for coming to the Extended Cut! Hope you enjoyed our take on Mad Max: Fury Road here 🙂

Fury Road, although primarily an action film, touches upon a number of themes which we explore in our extended cut here. Read on to see what we found out between the sparse lines said in the film and the madness of monster cars exploding all around!

Toast: ‘What are you doing?’
The Dag: ‘Praying’
Toast: ‘To who?’
The Dag: ‘Anyone that’s listening’

Religion and faith are two interesting themes raised in the film. Immortan Joe is both a religious figurehead and an autocrat, who uses religion the same way as it’s used today – an opium for the masses. ‘Valhalla’, a piece of pagan mythology originally meant for soldiers who died in combat finds its way into the religious fabric of the film. Immortan Joe uses it as a promise of a glorious afterlife for his slave ‘war boys’ who die on the fury road. Nux, the war boy is perhaps the key to understand this dystopic world and you can see how blind the faith runs among his kind indoctrinated by Immortan Joe, who in the beginning says ‘I’m gonna die historic on the Fury Road’ and ends his half-life with ‘Witness me’. You also have the war boys screaming ‘V8, V8, V8’ with a temple-like structure built of steering wheels with cars nearly worshipped in the film. From the ‘gates of Valhalla’ to ‘you will ride eternal shiny and chrome’, an alternate discourse of religion has been created by the people in this wasteland.

In contrast, you see the faith of Furiosa in ‘The Green Place’ and ‘The Many Mothers’ of the Vuvalani to find redemption for herself and a home for the five wives. Towards the end of the movie we see, The Dag one of the wives praying to ‘anyone that’s listening’, while the concept of praying has survived, god is lost.

‘Who killed the world? We are not things’

Painted on the walls in the vault where Immortan Joe keeps his five wives/prized breeders, these comments highlight the objectification of human beings in this society. People have been reduced to things in the movie, another resource to be consumed piecemeal and in whole and then thrown into the wasteland. From blood to mother’s milk both are considered precious commodities prized more than the life of a human being. The gates to the citadel itself are operated by a horde of slaves pedaling like cattle, part of the machinery that runs it. Immortan’s war boys with their shaved heads and painted white bodies look like skeletons trained to do his bidding wiped of all humanity. Everyone in the colony is branded with Immortan Joe’s stamp, owned by him like the war rigs and pursuit vehicles they run.

The characters in the film have rather (un)characteristic names (pun intended!), another theme that brings out the dystopia and objectification in the film. From Furiosa to Rictus Erectus to Immortan Joe’s wives Splendid, Capable, Fragile, Toast, and The Dag, all names are based on some attribute the person displays. The two somewhat familiar names you hear are Joe and Max which are also transformed with an adjective in the beginning. Larry and Barry are the most benign names in the film, but alas they’re the tumors on Nux’s neck that he’s named. Funnily enough the chaperone and nursemaid Immortan Joe has is called ‘Miss Giddy’ another character named after an adjective but given the title of ‘Miss’ as you would in Victorian times!

Splendid: ‘It hurts!’
Furiosa: ‘Out here everything hurts.’

Gender is complicated in Fury Road. Gender roles are both reinforced and inverted through the course of the narrative. There is objectification of both men and women and it’s hard to say who’s representation is worse in Miller’s story. The half-life war boys and war pups, with no real names, are slaves to Immortan Joe’s (played by Hugh Keays Byrne) demands, from picking him up to dressing his ulcers and are falling over themselves for his slightest approval, because in this broken world he holds the key to Valhalla. All men are shown helplessly following orders from one tyrannical leader, weak, incapable of standing for themselves, succumbing to his irrational demands. Nux and Max are the only men to have human shades in their character and experience hope, fear, solidarity and the desire for redemption.

On the other hand, women in Fury Road are bound by ties of kinship and shared histories of oppression. They are fighting for their common goals of survival as a race and not as individuals driven by power and politics. Women are shown to have the last vestiges of humanity, who don’t kill for pleasure or play. Despite their despicable treatment at the hands of men, they are capable of love, compassion, solidarity and forgiveness and they can extend this to women and men alike. In this film women are resilient, courageous, survivors and the true heroes of the film. They are not afraid to jump right in and take charge when needed, they are not scared of rolling their sleeves and getting things done. From tallying ammunition to driving vehicles to fighting men in one on one combat – women are shown to be just as badass and that’s a great statement against any kind of stereotyping of women as the ‘weaker sex’. They are scared because they are human, but that also makes them capable of love. Women are shown to hold in them life and hope, and, birth and motherhood. In a poignant moment, towards the film’s climax we see a mother of an older generation pass on the last remaining ‘seeds’, her heirlooms, to a younger mother. In this their is hope of life and growth and rebuilding the idyll – the Green place.

Immortan Joe’s world – his citadel is free of women for most parts, no roles are assigned to women except for breeding and lactating. He keeps specially chosen women, called Breeders in his harem with chastity belts to reproduce his alpha male progeny. These women are all physically attractive and young, making them the easiest targets in this patriarchal world, with an excess of testosterone. The other set of women are much older who are being raised like cattle to produce milk for Immortan Joe, his war boys and even for trade with Gas Town and Bullet Farm. Mother’s Milk is some sort of an elevated ‘energy drink’ and is even in their chant. Did we tell you that this is the mother of all dystopic worlds you’ve ever seen? If not, you’ve now been told.

In this world where women are treated in the worst way possible, we’re introduced to Imperator Furiosa (played by Charlize Theron) who is the only female Imperator in Immortan Joe’s army. Fury Road begins with her leading a war rig (which is a big deal) to get ‘guzzoline’ and bullets. How Furiosa survived the fate of other attractive women in this world remains a mystery. Our best guess is her physical deformity – she doesn’t have a hand, which makes her ‘imperfect’ and not suited for Immortan Joe’s breeding plans. One could build an entire film on Furiosa’s back story and how she fought her way to the top of the army and became an Imperator. Fury Road is primarily her story of defiance, of her fighting the patriarchal order to make a world that’s fair to the weak and the strong, with everyone else, Max (Tom Hardy), Nux (Nicholas Hoult), Splendid, Toast, Capable, playing supporting cast. At the climax, Furiosa is the one to put an end to Immortan Joe, and not Max, further reinforcing Miller’s vision of this being her tale.

And this is the perfect segway to talk about Max and what is Tom Hardy doing in Fury Road. For one, he is in the title of the film and it’s through him that we’re taken to Immortan Joe’s world and introduced to the awesomeness of Furiosa. He is also the narratorial voice, even though sparingly used in the movie. But mainly he is seen as Furiosa’s partner in crime and by the end of Fury Road, you see a sense of partnership between them, that’s new to both loners. Thankfully at no point does this become something cheesy or overly sentimental and they both stay true to their characters – Furiosa as the leader of the oppressed and Max as the weary traveler moving from one adventure to another. Max convinces Furiosa to go back to the citadel and fix what’s broken, instead of going on a wild hunt for a better world which may or may not exist. And by doing this with her, he sees redemption for both of them. Towards the end of the film, we see Max choosing to move on instead of staying back. He appears to be scared of being tied down to anything or anyone. He values his freedom and his solitude and wants to protect that fiercely.

Of all characters in Fury Road, Nux was the most interesting and in a way he holds the key to many layers of the film. It’s through him that the war boys get a voice, a representation that makes them appear more human and not just faceless suicide warriors owned by Immortan Joe. It’s also through Nux that we are taken into the deep recesses of the ideology of this dystopic universe. We’re shown how his only desire is to go to Valhalla – his final destination and dying on the fury road is the chosen route. His blind faith in Immortan Joe, his belief that death is the only way to Valhalla, his constant doubt of being awaited, the certainty in his mind of his death – Nux lives everyday with the desire to die and in this he captures the extent of dystopia. Sitting amidst wildfires, sandstorms, gore and blood is his idea of a ‘lovely day’. So when his last bid to reach the gates of Valhalla fails, his disappointment is just as intense. He feels broken and hopeless. And in that moment he experiences compassion and empathy and care all at once with Capable’s gentle touch. Capable’s trust in Nux gets him included in Furiosa’s band of survivors and for once he experiences hope. Redemption is an important theme in Fury Road and perhaps Nux is the only one to attain it. He dies for a cause, a free agent, or at least as free as he had ever been. He dies in glory and is witnessed in that moment by the one person who cared for him, with whom he’s seen a glimmer of love and life. In Nux, we see that there is hope to switch over, to change course, to experience happiness, to take control of a life that’s seemingly uncontrollable, even if it’s for a little while.

Andy Dufresne really knew what he was talking about when he said ‘Hope is a good thing, maybe the best of things, and no good thing ever dies.’

Until next time, keep the popcorn tub handy!

Adi & Sahil