Reminds me of the Trojan War in the history of ancient Greece. Although there is a premise of competing for interests, it is said that the war is centered on the most beautiful woman in the world. As the movie says, it's a family war. In the post-apocalyptic situation with extremely limited resources, people also break out crazy wars, which will only bring about more serious defeats. Isn't the Trojan War in history like the scene in the movie? Iron vests, steampunk, gore, muscle, and some kind of democratic spirit that we can't comprehend - the heroic spirit of ancient Greek civilization. Fearless, brave, rod, dry. At the same time of the bloody war, he did not forget to kill innocent mother's love indiscriminately.
Fanatics under the monarchy, they are half-dead. Yes, such religious madness believes in his own emperor. Not half-dead, what else could it be? But have you found that after the bald boy entered the desert and joined Fu's defecting team, he gradually recovered his appearance like a human being (it can be said to be over-interpreted, but we cannot help but doubt that he is indeed more like a human than others of his kind). The next ones are real humans, begging for water with broken bowls. They are the people at the bottom, powerless and at the mercy of others. I like the world view of the movie, the director really doesn't say a word of nonsense, you can see as much as you can. The director abandoned all long-winded clichés and focused the movie on "Fury Road". What I want to present is this gorgeous big scene, always conflicting and difficult scenes.
This film has his romance, subtle, steely, soulful. After the apocalypse, people are shouting for water, for Coke, for bullet farms. The bald boy is loyal to the immortal god, shouting "witness" and running to death. His wish was always to reach Valhalla, and in the end he proved his arrival by death. He was cute, stared curiously at the little bug in the car, and ate it again. A little loving care is willing to die. When in the car, Max threatened the women with the women's grabs. However, the armrest of the chariot was a sharp sword, but she did not pull it up to threaten Max. This was a romantic moment of turning enemies into friends and trusting each other. After the pregnant woman fell out of the car, the god of immortality immediately rushed over, ignoring the overturning of the chariot. The old woman holding a bag of hometown heirlooms (seeds) said: "In those days, we didn't have to kill to survive.", leaving the beautiful wife's bewildered and empty eyes. Fu is looking for a way back home, and the beautiful wife is not afraid of the danger of death but also runs to hope. This is the "road to freedom" in history, and it is also the redemption of everyone.
The immortal god died twice. This is interesting.
Woman: "I'm praying to anyone who can hear.". This has hit the root of my heart. In a world view without religious belief, human beings are still in danger and have developed their dependence on fate and God. The movie really doesn't say a word of nonsense, and the character relationships, motives, and contradictions are explained neatly without any line assistance. The movie is from the perspective of God, and the key characters are divided into Fu, Max, and bald boy. Not messy, but also unable to make the audience empathize with the characters. I prefer the main point of view to be a bald boy, who has the longest arc in the movie. Although his line is vulgar, but still cute. (Or did I not watch MADMAX123, which caused me not to fall in love with Max at all?) I wonder what kind of literature and art the audience who loves this movie is chasing on weekdays. For Me Only This movie has the aesthetics of ancient Greek civilization, the beautiful carcass of women, the desert and Greek tragedy - "Brave against bad fate, and then into bad luck". Just as Aristotle said, the tragedy shows the plot of "good people make mistakes" and take responsibility for the consequences of "not what they deserve, but they take it for themselves", so that people in this just tragic ending, Both praise and pity heroes. This kind of "beauty" is reflected in the subtle moments of the film, and the director also integrates the beauty of civilization into the steampunk era. But he only presents and tells you the real situation of the war, without magnifying it. In the explosive world, sensibility has become an understatement. In science fiction, sensibility brings an inexplicable sense of non-sensational reality.
Well, I like this movie, but it's not my type of movie. The craze in the message area has certainly passed.
View more about Mad Max: Fury Road reviews
