muchtoofullofsand:

This is a thing I am going to.

Oh what a day. What a lovely day!

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redshoesnblueskies:

bonehandledknife:

bonehandledknife:

I just had a shower thought.

If Max and Nux are elements of reformed/non-toxic masculinity in the overall theme of feminine power struggling against toxic masculinity…

I bring up the final chase. The War Rig has been shown to have had a commanding lead, and only one car was able to even pull up next to them at that point.

Max’s Interceptor, being boosted by Nux’s lancer.

The only reason the rest of the war parties even caught up was because the spikes dropped by the Interceptor took out the second engine and dropped the power of the first.

Let me rephrase: the path to getting the women to safety was hindered by elements from their allies’ toxic past.

(In Max’s case, he’d specifically was almost killed by the Interceptor driven by Slit.)

I’m squinting at this up, down, and sideways and I can’t help but think that Miller could have possibly made another vehicle instead of the Interceptor, or have that car battle at a different point, he could have had Slit appear on the Gigahorse or maybe on a vehicle Max swung to.

But no, instead it’s the lead vehicle, the one that messes up their escape the most. And that’s completely fascinating to me.

I’m going to laugh my ass off if someone ever asks George Miller about this stuff and he’s like ‘uhhhh ok didn’t think of it like that but ok’ (via cortibah)

I would like to point you to this post on something I’d written that someone pointed out to me as well as this post on Filmmaking Intent.

The spouse and I spent 5 minutes yesterday finishing eachother’s sentences like this:

spouse: …so during their fight, Max is…

me: fighting his best allies, the women, the other victims of oppression…

spouse: all while literally…

me: having his BLOOD SUCKED…

spouse: by the DEAD WEIGHT of TOXIC MASCULINITY…

me: robbing him of power! while chained between them…

spouse: is a broken piece of…

me: WASTEFUL INDUSTRIAL OVERPRODUCTION…

spouse: dragging them BOTH DOWN…

me: and all of this chained to a muzzle literally IMPEDING HIS SPEECH…

spouse: making him incapable of ASKING FOR HIS NEEDS TO BE MET…

me: or MAKING CONNECTION WITH THE WOMEN…

spouse: or even LETTING HIM FEEL FULLY HUMAN…

me: or letting the women PERCEIVE HIM as fully human…

spouse: because he must be, like all men, A MONSTER – the muzzle proves it

[at least, like, 5 more exchanges because the metaphor just. keeps going. doesn’t it?]

me:  …..THIS IS FUCKING RIDICULOUS.  THERE IS NO WAY GEORGE MILLER DIDN’T
1) KNOW EXACTLY WHAT HE WAS DOING WHEN HE ENGINEERED THIS SCENE OR
2) WILL EVER IN A MILLION YEARS ADMIT IT.

both: AAAAUGH!

Okay yeah, there are endless metaphor and parallels available to us in ridiculously overanalyzing the movie…but I think having Max’s car and Nux’s lancer be what almost takes everyone down, and having Max’s blood being literally sucked away to feed the next generation of toxic masculinity impersonated…AREN’T THAT MUCH OF A STRETCH, ARE THEY.  I mean, this isn’t even in the over-the-top country of fannish theory spinning – this is just ‘visual representation’ we’re talking about here :P

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Fury Road – Physics & Feminism:

redshoesnblueskies:

Warning – philosophizing ahead.

In a previous post conversation with malibujojo we were talking about Max & Furiosa’s fight, which led me to thinking about the broader context for the fight. And once I get started, I kinda just keep writing. Better to start a new post rather than clutter the…

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I love the subtlety in Mad Max Fury Road:

redcandle17:

floatingpuppy:

I love the fact that Mad Max Fury Road is full of subtlety, that
those characters in the film communicate a lot through eyes, and that it leaves
some hiatuses for the audience to imagine and speculate. In one word, it is
showing rather than telling.

Here is one hiatus that particularly interests…

Well said.

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icarus-suraki:

Illustrative gifs from this set (x) Please reblog it!

So I’ve been thinking about the guys who wear black foreheads in the Citadel and what it means within this imaginary world. I haven’t gotten my hands (eyes?) on anything that actually says “It means this in this case and that in that” as yet so this is just fan speculation based on one tiny costuming production note. I also don’t know that putting black foreheads on some actors and not others isn’t just a way to add visual interest to a crowd scene–it certainly could be. But given how much world-building and purely visual storytelling happens in this movie, I feel like I’ve got a leg to stand on here. I’m just making observations and trying to piece a pattern out of them. 

Remembering, of course, that we’re pretending that this imaginary world is as coherent and complete as the real one. (And someone may have totally thought of this already, but I’m going to make this post anyway.)

So. Black foreheads. Or: How do you spot an Imperator?

Keep reading

Nothing about this analysis I don’t love.

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I haven’t noticed it before either, because I was always too busy staring at Slit haha but here

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didnt-want-to-sleep-anyway:

lies:

Favorite world-building elements: Realistic depiction of trauma

One of the things that makes Fury Road so immersive is the way it presents the result of violence. Unlike movies in which characters shrug off what in the real world would be horrific injuries*, the inhabitants of the Wasteland experience the full effect of the bad things that happen to them.

Some examples:

• Angharad’s graze wound. When Max shoots The Splendid Angharad in the leg, we see a close-up of the injury. When Furiosa asks her how it feels, she says, “It hurts,” and it apparently is a factor in her subsequently slipping from the war rig and being crushed. In the world of Fury Road, even a relatively minor injury can have severe consequences.
• Avoidance of gratuitous on-screen gore. At the same time, the film avoids depicting injuries just to be shocking. When Angharad is dying and Immortan Joe orders her cut open to try to save the fetus, we see the scene unfold – but we don’t see the actual procedure. The movie only shows enough for us to understand what’s happening. That restraint reflects a maturity in how the film approaches trauma that contrasts with the adolescent gross-out porn of other action movies.
• Realistic emotional responses. The inhabitants of the Wasteland carry both literal and figurative scars of past experiences. Angharad has a history of self-harm. Max exhibits a degree of PTSD that leaves him unable to speak. I ship Max/Furiosa, and there’s a side of me that wants to believe there were sexy fun times in the back of the war rig during that one chance Nux and Capable had, but I appreciate that the film respects its characters and what they’ve been through enough not to force them into emotionally false situations.
• Furiosa’s chest wound. When Furiosa is stabbed with the gear-shift dagger, we see the pain of it in her face. Especially given how stoic she’s been up to this point, the increasingly desperate look in her eyes during subsequent events shows the effect it is having on her. Unlike less-realistic movies, where such an injury might lead to a) a quick clichéd death scene with a few coughs of blood, an exhortation or two, and boom, dead, or conversely b) lots of ass-kicking followed by a wince and some light-hearted banter in the denouement, Furiosa’s injury follows a steady and clinically realistic progression through increasing distress and eventual loss of breath function due to tension pneumothorax. That the true emotional climax of the movie centers on an act of healing, as Max decompresses her chest and then treats her subsequent exsanguination with a transfusion of his own blood, is a beautiful inversion of action-movie tropes.

George Miller financed the original Mad Max with his earnings as an ER doctor, and made the movie in part to explore the effects of trauma on people who encounter lots of it. Although he hasn’t worked as a physician in many years, his experience and willingness to hold the movie to a high standard adds greatly to the believability of Fury Road.

*No disrespect to Holy Grail. That shit’s hilarious.

You know what had me wonder? The transfusion. How did he know what blood type she had? If he had a wrong type of blood, she could have had a jello in her veins within few seconds.

Remember the scene when his back is being tattooed?

He’s blood type O-negative, which makes him a “universal donor”, i.e., able to donate to anyone. (I’m also O-negative. Woo! Universal donors represent!)

It’s also mentioned in dialog. When he’s being prodded out of his cage to be hooked up to Nux, one of his captors shouts, “Careful! He’s a universal donor!”

This movie. smh

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