Tag: George Miller

‘Fury Road’: Why the film is a work of George Miller genius

For all the reasons that Mad Max: Fury Road is a modern masterpiece on par with films like Citizen Kane, The Good, The Bad, and The Ugly, and Ben Hur is to look at the film itself.  In 1981 if anyone would have predicted that the maker of the Road Warrior would 30 years in the future create such a scathing representation of human culture nobody would have believed it.  Yet our current society has devolved to such a degree that the evidence of such a future nightmare is fast upon us which brings a sort of exasperation at the end of the film.  Fury Road is many things all at the same time; it’s a modern morality western on wheels and can be enjoyed as popcorn entertainment.  This part of it was clear already in the previous Mad Max films.  But, there was always a hint at something deeper, which a younger director in George Miller probably wanted to utter, but didn’t yet have the whole package ready to wrap.  Fury Road dives deeper into the well of the human condition seamlessly like all great works of art.  It gives the viewer more of what they already know, and dares them to step beyond their comfort zone in a way that Picasso’s cubic paintings did.  But then again, Fury Road is deeper than even that—it jumps headlong into the vast depths of James Joyce’s literary masterpiece Finnegan’s Wake to play at Giambattista Vico’s four cycles of civilization.   When it is said that Fury Road is the work of genius, this would be the reason, it is modern art evoked in some of the most provocative ways ever put to film, and it is done so in a way that at the end viewers will wonder what the just saw.  Was the movie just another summer blockbuster in superhero clothing, or was it the genius of a new religion after mankind has fallen back to its beginnings as it has so many times before?

If George Miller was not a fan of Finnegan’s Wake, and had a firm understanding of the Vico cycle, I would be surprised—because that is clearly the theme of Fury Road.  Human beings have devolved from a race that once put satellites into the sky to a society clamoring over water.  Anarchy has given way to a new theocracy and at the end of the move, the last line shown on the screen before the end credits read like the first sentence in a new book of Genesis.  I can’t say that I have ever seen a critic rating of 98% on Rottentomatos.com for a movie, yet Fury Road had virtually everyone who had seen it eating out of its hand—something that certainly would not have been the case in 1982 when the Road Warrior came out.  Some radio movie reviewers on the Friday of the film’s release were actually giving the movie 5 out of 5 stars—which is something else I can’t ever recall happening.  Even great films typically get a 4 or a 4.5, but many critics were giving Fury Road a full unfettered five stars essentially calling it a perfect movie.  I don’t think Fury Road is a perfect movie.  It was on par to me to all the great western’s I have seen over the years—but it has the added dimension of hidden sophistication that all viewers sense which hangs in the air at the end of the movie.  It touches something very primal in us all and hints at long suppressed beliefs touched for the first time perhaps in some people’s lives.  Yes, the Vico cycle is well at hand.   In a time where nearly every movie is a retread from the past society has forgotten that all these retreads came from a period when our culture produced these kinds of stories every couple of months.  Just like the mixed up cars in Fury Road are representatives of a previous society which mass manufactured them, they are assembled on the screen hodgepodged together in bizarre and imaginative ways that still evoke a lesser society that inherited something great from the past yet didn’t quite know how to sustain them.  Fury Road is a metaphor of itself in a very tongue in cheek way.  There seems to be a very firm knowledge from George Miller of what he’s doing as he is clearly an artist at the top of his game.

Other progressive reviewers saw in Immortan Joe a greedy capitalist regulating vast resources to enslave people.  To their minds Immortan Joe was the Bilderberg bankers and Illuminati currency manipulators of the current times and the revolution of the people to overtake such a greedy bastard is communism so everyone can have equal share in the wonders of water stored in his magical pumps within his fortress Citadel.  Yet again, Fury Road is a deeper movie than that—it cuts to a primal rage contained within every human being—the desire to be free.  Immortan Joe might have been slain, and a new government might rule in his place—but the results would be the same.  So long as mankind follows the trends of the Vico cycle whoever is in power will always seek to suppress those under their control.  The reason the film has such high critical ratings is because of things like this, where the kinds of topics that are really important to people are expressed.  But like all great works of art, those people are limited by what they can see.  They may not have the ability to see too far, so they only see representations of feminism, or communism as factors for redemption—but there is clearly more going on.

I thought the most powerful part of the movie was a quiet scene where the characters named brilliantly, Toast the Knowing, Cheedo the Fragile, and the Capable were watching a star filled night sky as they saw a satellite flying across their view from horizon to horizon.  They contemplated the previous culture that actually made such things that could talk to people across the whole of the world.  They wondered who killed the world.  It’s not global warming which has done the destruction.  It was the Vico cycle—mankind’s innate desire to advance and regress along its formulated parameters.

As I bought my ticket for Fury Road the attendant whispered to himself, “Max, great choice.”  He locked knowing eyes with mine.  “I loved it.”  And that was the general feeling of everyone I bumped into who saw the movie.  They realized that they were seeing something that was strangely important, yet they didn’t really know why.  It is our present story played out in a way that they can easily see no matter what vantage point of political reality they approach the subject—because the road all leads to the same place.  It doesn’t matter if the vantage point is conservative, liberal, deeply socialist, fascist, or manically religious it all ends up in the same place, the cycle of Giambattista Vico, theocracy, aristocracy, democracy, followed by anarchy which has persisted in human lives for as long as we have had breath.  Most of us want to be Max or Furiosa, but know that they will always ever be at best like the old lady in Fury Road, the Keeper of the Seeds.  Worse yet, most people will spend their whole lives begging for water, or allowing themselves to be harvested for their bodies–their motherly milk, or their blind devotion to a male patriarchy more concerned with their place in a masculine peaking order than in inventing satellites to go to space.  Even though the world has gone mad Max at least has not surrendered himself to its cycle.  In the end he is the hero who carries those who want to back to a hope of advancing their cause instead of just retreating from it. It was a brilliant film by a brilliant director at the absolute top of his game.  The above and below line talent in the picture are all at the peak of film making genius and if there is any justice Fury Road will win many Oscars in 2016.  But that in and of itself will prove just how valid Fury Road truly is.  In a free culture capable of making all the stories it can deem possible, it is a retread from the past that is evoking so much of a response in a culture that subconsciously seems to realize it is slipping back into the abyss of anarchy and theocracy.   They don’t understand why or how—but know that it’s happening.  And the only way they can measure that slide is with a good ol’ Mad Max movie which shows them the map of how it’s happening, even if they are powerless to stop it.

Rich Hoffman

 CLIFFHANGER RESEARCH & DEVELOPMENT

Listen to The Blaze Radio Network by CLICKING HERE.

‘Fury Road’: Rebelling against Giambattista Vico

I have a general assumption about mankind that is quite opposite of typical academia. Civilizations rise on the backs of innovative individuals and flourishing capitalism. They decline with more centralized control and absorption of individual achievement into the fabric of a collective society. When an unworthy king or bureaucratic democracy takes over the direction of economic enterprise and invention, a society is in decline. It is due to the hard wiring of human beings trained from their infancy to follow the Giambattista Vico cycle always witnessing societies fall only to be born again in a much regimented pattern. This holds true no matter what the society, whether it be the Mayan people, the Inca, the Mongol, the Roman Empire—all societies so far have followed the Giambattista cycle. This is why anybody with any honesty looks at George Miller’s Mad Max films and declares him a genius. It’s also why it was more than symbolic that Mel Gibson showed up at the premier of Fury Road, the latest Mad Max film now staring Tom Hardy. Studios didn’t want Gibson in the film as the Vico cycle declares that what’s old must be recycled to make way for the young and new. But Gibson showed up to give the young Hardy a bit of support because any Mad Max fan knows that Mel Gibson will always be the iconic Road Warrior. It all started with this movie.

Our current world is not very far from the world of the first Mad Max movie. Police are now being openly murdered and Vico’s final phase of anarchy is fully at hand. What happens next is the rise of a theocratic society followed again by aristocratic, then democratic rule, followed by chaos once again. In the film Fury Road we find that in the period between the first Mad Max film society has devolved into the rise of theocratic civilization. No longer is society concerned with missions to Mars or inventing a new iWatch—now the primary concern as it has been in the past is to establish a new deity figure for the society at large.

I have always loved the Mad Max character because he maintains himself throughout the entire cycle as a constant reminder into the phase of the Gambattista cycle from which everything was taken from him, his wife, child, friend, career—everything he cherished from that time. Unlike the rest of the world he finds himself standing up against the tide of regression. He is a representation in these Mad Max films as Nietzsche’s ubermensch-otherwise translated as the overman. Nietzsche’s ubermensch is one who has graduated from mankind and stepped away from the Gambattista cycle all together—and has decided to advance their life based on individual creativity.   But this is a dangerous road, Hitler tried to take Nietzsche’s ubermensch and advance Germany, but failed in his interpretation and instead moved his country into a Karl Marx inspired socialist democracy—followed by war defined anarchy, then back to a theocratic/democratic existence where it currently finds itself in a European Union—otherwise a democracy that is once again plunging into anarchy now inspired by the failing economies of Greece.   Mad Max is the figure who refuses to submit to these tides of the world.

I have no doubt that George Miller would agree with this assessment. He knows all too well what he’s doing. He’s not just making a popcorn action thriller with great car stunts and bizarre characters. He’s making a rejection statement against Gambattista’s famed cycle. He may not have set out to be conscious about that statement but rather let his intellect drive those elements of the story along as evolution of the various aspects of the story evolved, but based on the presentation of Fury Road, it is clear he understands what he’s doing all too well. It’s also clear why so many people are excited to see such an apocalyptic story and why after all these years it’s so close to the hearts of so many people. This is not a typical summer blockbuster film.

So, how excited am I for the upcoming Fury Road? Well, let me tell you, I have dedicated this upcoming Friday to seeing it. I will certainly be one of the first, and I will likely see it several times. I love the action, I love Mad Max and all that he stands for, but more than anything I love seeing the Gambattista cycle challenged. The world may have went crazy in relation to the advanced days of invention when oil was being produced to propel cars from city to city, to instigate the growth of economies of various trade. All that can and will fall apart within just a few decades of human development—just like the Maya abandoned their cities apparently very fast—as if they just evaporated. It’s not that such people abandoned their cities because they left earth for alien destinations, the people of Ur did not suddenly become equivalent to the Neanderthal after building hanging gardens and massive temples—they regressed because they emerged into war then reinvented theocracy starting the Vico cycle fresh again losing all that they had gained before. Mad Max is that personality in these George Miller movies who in spite of everything that he has lost and continues to lose, refuses to give up on his heroic past and be the last representation of a time when mankind was truly great.

How many people do you know who would at the drop of a hat become one of the mindless followers of some future attempt at theocratic rule? The current Muslim obsession is but the latest. How many maniacs would kill the masses for a chance at everlasting life in the hereafter because some slug of a wanna’ be king dictated that such a thing would bring redemption to the soul? The answer is probably everyone that you know. Most of the people shopping at the grocery and working in a corner cubical would gladly trade in their suits and ties for a thong and Mohawk if some skull inspired death cult instructed them that through worship of his heavenly presence that someday they too might rise up to greatness if only they adhere to the tenets of collectivism.   Miller’s brilliance is that he was able to see such a clear vision from our present age. It’s not easy to see that overweight school levy supporter buying meat at the grocery as a future sex slave to a blood thirsty cult fighting over the worship of water—but Miller does, and with a grand design. It’s not easy to see that corrupt politician kissing babies and whatever else as the skull wearing Immortan Joe hunting down the wives who are desperate to leave him. But in Miller’s films, it is quickly recognizable that most people we know under similar conditions would find themselves as some character in that wasteland. It doesn’t take much to forgo everything we have ever been and throw it away in exchange for basic human necessities, like food, water, and sex.

I am excited for Fury Road, but for reasons that go well beyond the visual spectacle. I love it for the rebellion against Vico. On one hand the Vico cycle is shown in all its brutal honesty, but through the character of Max—using almost no dialogue—Miller beholds the ubermensch—a character that launched the career of Mel Gibson who in almost every movie refused to buckle under the pressure of Vico to decline—but always to advance. Whether it was Riggs from Lethal Weapon or William Wallace from Braveheart, Mel Gibson started as Mad Max, that hero from the past who punched through the Vico cycle with the throttle down and the skill of a Road Warrior as the rest of the world attempted to drag him back into the Stone Age. That’s why Fury Road is more important than a four-year degree in college studying history and the Vico cycle. Because Fury Road shows through art the results of that path—and how treacherously close we always are to falling off the edge of reality into an abyss controlled by maniacs like Immortan Joe—or the Toe Cutter.

Rich Hoffman

 CLIFFHANGER RESEARCH & DEVELOPMENT

Listen to The Blaze Radio Network by CLICKING HERE.