Shaun Celebrates Mad Max Fury Road and its Feminism in Disguise

Mad Max: Fury Road is the best movie of 2015 and one of the best action movies of all time.  A majority out there, while not necessarily agreeing with that statement fully, will nod their heads in understanding for where that sentiment comes from.  But, when a film gets the kind of praise Fury Road has since its release it will have its fair share of backlash.  It’s understandable.  Part of human nature is to feel unique and contrary opinions are one way to achieve that.  A person can be in a bad mood upon first seeing a film most love.  Then there’s the fact that the hype surrounding some films (as well as bands, books, foods, and nearly anything one can have a positive feeling toward) is so intense that nothing can ultimately live up it.  This could very well be the case where Fury Road is concerned.

To explain at least partially what I love so much about Mad Max: Fury Road, I’ve realized while trying to organize my thoughts on the movie I could probably write a novella length piece about it and no one wants that, I’ve taken some of the most common complaints I’ve heard aimed at the movie in an attempt to replace some of the negativity with appreciation.  I don’t expect to convert anyone through this article as film appreciation is such a subjective endeavor, but I can at least hope for understanding.

Fury Road is just a two hour long car chase

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This complaint is the one I hear perhaps the most, and it’s also a great place to start since it sets up a discussion of why Fury Road is such a unique film.  I often respond to this complaint when I’m in one of my more snide mood with, “Yes.  That’s the point.”  I think this complaint comes from people who are more comfortable with and find more enjoyment in story telling which relies on dialogue.

The word “movies”, though, is a shortened slang word derived from what they were originally called – moving pictures.  Movies as a storytelling device was a happy accident (though, possibly an inevitable one) as the original intent for the invention of film was closer to a photograph than a novel or a play.  The earliest movies created to tell a story were silent, and therefore had to rely entirely on visuals to get their account across.  Eventually someone came up with the idea of using title cards for dialogue, and shortly after that sound-on-film was invented, but at its core movies are moving pictures.

Mad Max: Fury Road isn’t a silent picture by any stretch of the imagination, it’s actually quite noisy, but it uses dialogue sparsely relying primarily on images and action to tell its story.  In making Fury Road George Miller understood that while there are many ways to create a narrative, only film can use images captured over large and myriad areas from any angle as a means of depicting his.  His being said two hour long car chase.

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There are many reasons to tell a story which is essentially just one long action sequence, the first of which being exactly that.  How cool is it to craft one long action sequence?  The story is driven not by what people say, but by what people do.  Talk is cheap, and a picture is worth a thousand words, and all that.   Sure, occasionally a command is barked but little time is wasted on people speaking about their feelings or their motivations, those are shown in the most direct way possible – through the actions the characters take.

Beyond the fact that Mad Max: Fury Road fully takes advantage of the medium of film by being almost entirely composed of action, there is also the fact that making an entire film from what is normally a single beat in a standard film adds up to a truly unique experience.  It makes for a film that, in a literal sense, very rarely slows down.  The start, the finish, and during the act breaks we get an opportunity to leave the vehicles and get a little expository and character building dialogue in, but outside of those four short sections the characters, the story, and thus our attention never slows down.

This a brave decision because it had the chance to alienate a good part of its intended audience (and, I think it actually did do just that which is part of the reason I felt compelled to write this piece) and it forced the writers to get across character development and themes in the middle of a whirlwind with little speech.  The fact that they not only accomplished that, but did so in a manner more loud and clear than a great many character pieces let alone action films, is a great testament to their talent.

There is one more very important reason the film makers made the movie one long car chase.  But, that reason ties in more closely with my discussion of themes which will come along a little later.

Everyone in in the post-apocalyptic world has great hair and make-up

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The Mad Max movies portray a world in which the last humans are trying to survive on an Earth with little food and water left, in which gasoline is more valuable than any precious metal or gem, and where gangs impose their power on the weak where they can and join together with would be dictators when they become the weak themselves.  They also all apparently have attended cosmetology school and have access to whatever makeup and hair styling tools they want.

Or do they?

If you remember, when Max is discovered at the start of the film, his hair and beard are overgrown, tangled, and matted.  He’s dirty and I imagine if a film could convey smell we’d all be grateful that the opening scene is over quickly.  Once he’s captured, the first thing the War Boys do to him is shave him, wash him, and brand him and once the action starts in earnest he’s freshly cleaned up.

Furiosa has lived most of her life in The Citadel as one of Immortan Joe’s lieutenants, and so has had access to plenty of clean water to wash with.  Plus, she shaves her head so hair isn’t an issue and she doesn’t wear make up.  She just happens to be played by Charlize Theron, so of course she’s incredibly beautiful even without the normal trappings, but that’s bone structure and other genetics, not the result of being dolled up.

The War Boys, Immortan Joe, Nux, and the other denizens of The Citadel all exist in various states of ragged dress, skin disease, and uncleanliness depending on their position within the society and their age.  The young War Boys look the most fit, but even they shave their heads completely and cover themselves in a white chalk.  The elder leaders of The Citadel have boils, cysts, and oozing sores.  The commoners in The Citadel have it worst of all, bent over, covered in grime, skinny, overgrown, the throngs of The Citadel not able to fight for Immortan Joe exist in state which can barely be considered human by the standards of here and now.

Which brings us to Toast, Splendid, Capable, and The Dag collectively known as “The Wives” who are the real target of this complaint.  The Wives do have impeccable hair, make-up, and skin.  This is because until the start of the film they were considered the property of Immortan Joe, the god-king of The Citadel and controller of the entire region’s water supply.  He makes sure they have the best, but he also makes sure they look the best since they are his personal baby factories.  Sex slaves.  Their appearance is essential to several Mad Max: Fury Road‘s themes, plus it just makes sense that the people of The Citadel would make absolutely sure the Wives always looked the best the possibly can to keep their master Immortan Joe pleased with them.

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So it’s not that everyone has hair stylists and make-up artists on their personal payroll.  It’s that Fury Road understands and has something to say about social classes.  It’s not something I’m going into any more detail in this particular article, but the reason people look so good post-apocalypse is George Miller saying in effect the more things change the more they stay the same.  The rich and powerful keep people as toys, and they want their toys kept in peak condition.

It is weird that with so many high-powered, large-tired motor vehicles moving at top speed through the desert that every single character isn’t covered in sand and dirt a few minutes into the chase.  If you want to make that complaint, I’ll give you a side eye for nitpicking but will grudgingly agree.

The movie is named Mad Max: Fury Road, but Max doesn’t do much

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Max has not been the focal character in any of the Mad Max films since the very first installment, and even that one could be up for debate.  The Mad Max films are more about the world they take place in and why George Miller feels that is a world we are hurtling toward if we don’t change our ways than they are about any of the people inhabiting that world.  Max has always been closer to a very active narrator than a protagonist, he brings us to the stories, tells them, but they are not his stories.

The popular opinion is that Furiosa is the main character in Mad Max: Fury Road.  It is she who who rescues the Wives, she who steals the War Rig, she who teaches the Wives to be strong, she who leads the group, makes the deals, and she who ultimately kills Immortan Joe and becomes the leader of The Citadel after great personal sacrifice. Those are all the traits of a hero, and normally the hero is also the protagonist.  But, while she is a paragon and of utmost importance to the film’s themes she is not the main character, either, as she doesn’t have a character arc.  She begins and ends the movie in the same place, literally and figuratively, and she makes that place better for everyone around her.

My more unpopular opinion is that the War Boy Nux is the main character in Mad Max: Fury Road.  Nux begins the movie an aggressive man-child eager to be noticed by Immortan Joe who has promised his War Boys a place in Valhalla if they fight well for him.  Nux is told to stay home by his superiors instead of joining the war party going after Furiosa because he is not well (for some unrevealed reason).  Nux, however, insists that his newly captured blood bag, Max, has strong blood and as long as Max can keep giving him his blood infusion (against Max’s will) he’ll be fine to join the party seeking to recapture their god-king’s sex slaves back from the evil woman who stole them.

Nux finishes the movie sacrificing his own life to be sure the horde of hyper-aggressive men he was once proud to be a part of won’t be able to capture the women whom he now loves and respects so they can retake The Citadel now empty of the warmongering horde and turn it into the paradise they were seeking elsewhere.  Now that’s a character arc, and it is all handled organically through visually focused story telling.

Why Mad Max: Fury Road is a movie worth celebrating

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As I in my opening, I could go on and on about Fury Road.  I haven’t mentioned its spectacular, Oscar winning art direction.  I could put an entire section on how in an age of CGI laden visuals Fury Road returned to stunt work and practical effects.  Fury Road out actions most action movies without cheating (okay, CGI isn’t cheating, but you get the idea), but what really sets it apart is what it has to say and how it says it.

We have a film in which powerful men control the world’s most important resources and dish out just enough of them to the people to keep them from revolting while also controlling the masses through false proverbs and promises of an afterlife.  These lords are powerful enough that they naturally feel entitled to anything they want, including other people, and they pass this sense of entitlement on to those closest to them in their hierarchy.  A powerful woman who was stolen as a child from her clan of all women who lived in a paradise is now mature and experienced enough to see the evil her master is doing, and decides to free the women he keeps as sex slaves and take them away with her to the green place of her childhood where they can join and be protected by the matriarchy rather than mistreated by the patriarchy.

She means to sneak away, but she’s found out and every man able to drive a war vehicle and fight soon comes after her.  One of these men brought along against his will joins her crew, and soon after one of the War Boys also joins her after disappointing the lord who promised him rewards after death and finding he respects the people in this band more than those he grew up with as they are kind, forgiving, and thoughtful in addition to also being strong willed survivors.

When the woman and her crew find that the green place no longer exists and barely a fraction of the matriarchy are still left, they decide to go back to The Citadel from whence they started and take it over for themselves now that the warmongers in charge are all outside The Citadel chasing them.  The sex slaves learn they can fight against their captors and the woman and former War Boy make sacrifices, the War Boy the ultimate sacrifice, to stop the war party and their leader in its tracks.

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So, put that all together and what we have is a film about literally and metaphorically removing the toxic masculinity from a society, and replacing it with more feminine ideals to heal the damage done to it by aggression and entitlement over the decades.  It shows us this through the state things have declined to under the men who lie, coerce, and bully to get their way and contrasting that with a woman who is just as powerful but was brainwashed from childhood to believe what the rest of society believes and now realizes the error of those beliefs.  It gives us a boy who is just another cog in a machine to be used by his master, and thus is filled with this contagious toxic masculinity, but who becomes loved and respected once he is able recognize the poison inside of him and release himself from it, and revered when he acts out of love instead of out of greed and entitlement for the first time in his life.

Mad Max: Fury Road tells us that the green place actually is within our grasp, and it’s closer than we think.  It’s right here.  But, to get to it, we have to remove the toxic masculinity which has been controlling our religions, our governments, our economics, and our entire way of life for centuries and embrace the feminine.  It’s not about hating men.  Men are essential to the human race’s success.  It’s about letting the women have at least an equal voice, maybe more until we can achieve some type of balance between the masculine and feminine voices.

Mad Max: Fury Road gives us the most feminist of messages wrapped up in a style and genre which most appeals to the hyper-masculine.  It uses action and visuals, not words.  It uses spears, and fast cars, and amazing stunts instead of soliloquies and serious facial expressions.  Mad Max: Fury Road is a feminist film masquerading as the toxic, supposed alpha male’s most desired fantasy.  It delivers its message not to the choir, but to those who most need to hear it, and in a way in which they want to listen.  That’s what makes Fury Road so brilliant and worth celebrating.

 

Atomic Blonde (Leitch; 2017)

The year is 1989, the Soviet Union’s collapse is all but done with revolutions happening throughout their territories and communist regimes toppling left and right.  In Berlin Russian, British, and American spies are all trying to get their hands on “The List”, a comprehensive registry of all known intelligence agents for every country involved in the Cold War, including the real name of “Satchel”, a double agent all sides have an interest in getting their hands on.  Charlize Theron is Lorraine Broughton an M.I. 6 Agent who has the talents her bosses need when the man who had The List, who also happens to be a former lover of Lorraine’s, is killed in East Germany.

Atomic Blonde is the major motion picture directorial debut  of former stuntman David Leitch (he has directed a Deadpool short and parts of John Wick previously).  The stunts are top notch, of course, given his background, but even more impressive is his camera work.  He and director of cinematography Jonathon Sela give us a film which appropriately mixes up its styles to give us some really impressive visuals including one ten to fifteen minute long fight sequence in an apartment stairwell which seems to have been done in one long cut.  Directors are commonly known as having a type and Leitch seems to be a natural when it comes to the art of action from the standpoint of both the people and the visuals involved.

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Charlize Theron has been impressing me for decades giving us hardly a bad movie and never a bad performance going all the way back to the early 2000’s and her turn in Monster which impressed the world with her talent and her bravery.  In Atomic Blonde she shows off her bravery yet again as she bares everything and does her own very physically demanding stunts in her 40’s.  Theron has long been showing she’s more interested in her reputation as a serious actress than as a beautiful woman, and while her performance here is certainly more about plot and action than it is about character, one of Atomic Blonde’s main weaknesses is a lack of real character development, she once again proves her dedication to the craft of acting.

James McAvoy performs our other primary character David Percival.  McAvoy is another actor who is known for his talent  when he could be coasting by on his good looks.  Here he does his job well giving us person whom we cannot nail down.  In a film which relies on suspicion to move the story, McAvoy gives us someone we want to trust but know what a bad idea that would be.  His performance is one which relies on body language and glances, and subtle variations between the words he is speaking and the actions he performs.  He perfectly treads the thin line between subtlety and obvious to give us the necessary doubt without ever having to figuratively give the audience a wink.

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The story is a straightforward one with not a single subplot to be found, but the main story is intricate and winding enough that you could get lost if you’re not paying attention to details.  There are revelations made which can change the way earlier scenes and characters needed to be viewed, and after the fantastic finale to this film when we think the final piece of the puzzle is put into place, we realize just how much of what we experienced was a game meant to deceive us through tropes and misdirection.  In a way the plot is the most simple of all, find and bring home “The List” is really its entirety, but there’s genius in the way this simplicity can lead us down so many misleading paths.

A definite make or break element of Atomic Blonde is its soundtrack.  As someone who did the majority of his growing up during the 1980’s I was really into the movie’s use of it’s music made up entirely of 80’s dance club tracks.  The film has a constant beat, and much like Baby Driver, the action moves along to that beat and there is more than one scene obviously choreographed to match the music which accompanies it.  I thought it added to the already dynamic action of the film, but if 80’s club music isn’t your thing, I can see where the non-stop barrage of it could become an annoyance as the film moves on.

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Final verdict:  Atomic Blonde won’t give you deep characters to study nor enlighten you with its nuanced world view, but if you can live without intellectualism you are in for a treat as it is a really smart, non-stop action film with a very recognizable style.  It can be absolutely brutal at times, and Atomic Blonde earns its R-rating more than perhaps any other spy film I’ve seen, and that element is what keeps the movie modern when everything else about the film is a throwback to 30 years ago when synthesized music reigned, cigarettes were cool, break dancing was in, and the motto world wide was “it’s all about me.”  I not only highly recommend Atomic Blonde, but I predict that this is a film that will one day reach a classic of the spy genre status.

Kubo and the Two Strings (Knight; 2016)

The majority of this review is going to deal with the dualities that permeated Kubo and the Two Strings from tones, to thematics, to sensibilities, to even the music, but before I start speaking about that, the very first thing that needs to be said about this movie is that it is gorgeous.  Travis Knight and his crew of artists and animators have brought forth a thing of absolute beauty with vivid color schemes, fantastic designs, and incredible attention to detail.  You forget while watching Kubo and the Two Strings that what you are seeing is stop motion and not hand drawn or CGI animation (though, I suspect many of the backgrounds were, in fact, done with CGI).  This is more than just a single level beyond what Tim Burton wowed us with when he gave us The Nightmare Before Christmas and The Corpse Bride, what Knight and company give us often seems impossible, but there it is.  I have no problem with giving away the end of this review by saying that I will most definitely be buying this movie on Blu-Ray, but before I watch the film itself, I will have to watch the making of featurettes because what these animators have managed to accomplish astonished me so much that what I saw does not always seem plausible, and I have to know how they did it.

Kubo and the Two Strings is a movie that, while it never mentions Yin-Yang, is infused with duality after duality.  It’s a film written with Western plot structure, but with Eastern stylings.  Western stories are all about, well, telling a story.  Most people reading this will know it as the only story telling style there is.  Plot has a structure and a rhythm, a beginning, a middle, and an end which all come at around the same time throughout the life cycle of a story, and have a pattern all Western audiences not only find familiar, but understand so intuitively that to tell a story any other way just doesn’t feel right.  Eastern story telling is quite different.  Structure, plot, and character all take a back seat to what I can only describe as experience.  The emotions a story evokes, the message it teaches, the philosophy it espouses are all more important to an Eastern story than things like character consistencies or plot points hitting at appropriate times.  In Eastern stories things happen not to further a plot, necessarily, but to make the audience react.  Kubo and the Two Strings manages to be both story telling styles at once as it uses Western plot structure with its 3 act story line that rises and falls right when a Western audience would expect but it doesn’t bother overly much with explanation or internal logic, instead giving us characters and settings that don’t need to be explained or even understood in order to entertain and engage us.  Where does the Moon King come from, and what is he really?  A god, wizard, spirit?  It doesn’t matter ultimately to the story so we’ll never know.  Many of our main characters and places just are, and that’s okay because overemphasis on exposition can often just be a distraction.

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In a Western movie, I’d be a cheap plot device.  In an Eastern movie, I’m part of the experience.

Another duality is that is a movie made both for children and adults, and not in the normal way people talk about when discussing family movies.  For the children, the humor in Kubo and the Two Strings is incredibly corny, to an eye rolling, dad joke degree.  It’s not too badly overdone, but I found myself groaning often at the attempts at humor throughout the film while also recognizing that young children would probably find much of it hilarious in the same way they love repeating jokes that were once upon a time found on the side of a Dixie cup (I’m showing my age).  The characters are also aimed at a younger audience with the scary never being too terribly scary and the protagonists always being a child, a parental figure, or over the top comic relief.  However, Kubo and the Two Strings is never afraid to shy away from adult issues like death, abandonment, grief, and responsibility.  While Kubo and the Two Strings never becomes grotesque, it is very often dark and earnest and could quite possibly be a bit much for children of an age young enough to appreciate the humor in the movie.  This is definitely one adults will have to watch with their children because they will have a good many questions afterward, the adults may even find themselves with one or two themselves.

The plot itself also has a great many yin-yang elements, most of which can’t be talked about in any great detail or the movie would be spoiled.  The story deals with both the natural and the spiritual world.  Day and night play important roles.  Even something as seemingly one dimensional as good and evil are shown to have two sides, and there are, of course, the titular two strings…

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It’s almost as if the title means something.

Kubo and the Two Strings is a movie that demands you expand the way you think and feel in order to enjoy and understand it in its entirety.  If you are willing to try to be both adult and child, believer and cynic, thinker and feeler, then Kubo will have a lot to offer.  If you insist on viewing it with tunnel vision, however, then you are going to find much of the story annoying and confusing. Both Kubo the child and Kubo the movie are beings that exist in two worlds at once.   No matter how open minded you decide to be, however, you will at least get to experience the most gorgeous animation to grace the big screen in some time.

Rating:  8.2 out of 10