This whole shabby affair really is a shame. George Miller, the director of "The Road Warrior" pulled off something very special in cinematic art in 1981 with his movie.
"The Road Warrior" really is a visionary science fiction film, a pulse-pounding action film, and just a great story. It's easy to forget it now, but it was endlessly imitated in the 1980s and 1990s. It spawned countless "apocalypse" movies all through that period, and even after.
But Miller apparently found it necessary to "sell out" in order to make the big time. I'm not sure exactly what happened, but it looks like he wanted to make it big in America, and to do that he needed to dilute his masculine, balls-to-the-wall message.
The big studios probably sat him down and told him that to get the big financing, he was going to have to compromise. He was going to have to play ball with America's little feminist party lines.
What you could get away with in Australia, you can't get away with in the US. Sad.
I literally winced when the sequel came out in the mid-1980s, "Beyond Thunderdome." I have nothing against Tina Turner as far as it goes, but it was clear that inserting her into the movie was a ploy to capitalize on her trending popularity, which was undergoing something of a revival in the 1980s. But it just didn't feel right. She just seemed out of place among all the leather-clad barbarians.
Same thing with having all these kids in the film. There was a whole ridiculous sequence with Mel Gibson stumbling on a "tribe " of kids looking for their lost leader or some nonsense.
So they turned what had been one of the most masculine movies ever made--The Road Warrior--into some sort of social statement where feral kids and female singing icons had center stage. Mad Max was reduced to just being a cab driver with brass knuckles.
Sad, sad, sad.
.
"The Road Warrior" really is a visionary science fiction film, a pulse-pounding action film, and just a great story. It's easy to forget it now, but it was endlessly imitated in the 1980s and 1990s. It spawned countless "apocalypse" movies all through that period, and even after.
But Miller apparently found it necessary to "sell out" in order to make the big time. I'm not sure exactly what happened, but it looks like he wanted to make it big in America, and to do that he needed to dilute his masculine, balls-to-the-wall message.
The big studios probably sat him down and told him that to get the big financing, he was going to have to compromise. He was going to have to play ball with America's little feminist party lines.
What you could get away with in Australia, you can't get away with in the US. Sad.
I literally winced when the sequel came out in the mid-1980s, "Beyond Thunderdome." I have nothing against Tina Turner as far as it goes, but it was clear that inserting her into the movie was a ploy to capitalize on her trending popularity, which was undergoing something of a revival in the 1980s. But it just didn't feel right. She just seemed out of place among all the leather-clad barbarians.
Same thing with having all these kids in the film. There was a whole ridiculous sequence with Mel Gibson stumbling on a "tribe " of kids looking for their lost leader or some nonsense.
So they turned what had been one of the most masculine movies ever made--The Road Warrior--into some sort of social statement where feral kids and female singing icons had center stage. Mad Max was reduced to just being a cab driver with brass knuckles.
Sad, sad, sad.
.