Strategic of the Mad Max Creative MovieArt - Movie Review Example

FILM: MAD MAX: FURY ROAD, A RETURN TO THE WORLD OF THE ROAD WARRIOR ( 1979) Name Class Instructor Institution City State Date FILM: MAD MAX: FURY ROAD, A RETURN TO THE WORLD OF THE ROAD WARRIOR ( 1979) In the film, Mad Max of 1979, the sequence that will be analyzed is the beginning part of the opening sequence of Mad Max. It consists of 10 shots that start at timeline 1:13 and ends at 17:10 and it just lasts under 16 minutes. The primary aim of the sequence is to introduce the film viewer to the particular behaviors of the important characters in the film and bring out the back flash themes of the film, as well as show the viewer the dangers of the road that the characters take for granted. It shows Mad Max's fearless, insane, abusive careless behavior towards the law and this reflects in the whole script displays the manner in which Mad Max hates the law and cannot abide by the rules. (Bambra, & Maryon-Davis, 1992). Mad Max comes out clearly as a promiscuous lover who takes his girlfriend to make love in the open. This character puts other road users in danger. He drives carelessly on a road that has claimed over 57 lives in the same year. The characters of the police officers are shown all over the film as the determination to put Mad Max behind bars leads them to danger and injury. However when Mad Max is pursued by a particular police officer and crashes into a stationary object, Mad Max seems to change completely is aggressive behavior and even sheds tears in fear, regret and remorse. This is introduced in the beginning part of the film. It is evident that the opening sequence displays many themes that are consistent in the whole movie or film with the Mad Max character being revealed in the later stages of the film. In the film analysis, the types of cuts that are used are placed between the shots themselves and the time of the start of the shot are put in the beginning as a parenthesis. (Bambra, & Maryon-Davis, 1992). Intertitle: Five Years From Now.....(1:13-1:18 - 5 seconds) Fade in... Shot 1: (1:13- 4:13 - 3 minute) This take is relatively long within the scope of the sequence. It brings out a back-flash of the events that happened five years ago and it grabs the attention of the viewer to the dangers of the Anarchie Road as well as the dangers of speeding that has claimed more than 57 lives in the last year within a single stretch of the road. This symbolizes destruction and anarchy. It also displays the low pitched romantic lovemaking of characters that is to calm the viewer, however, immediately grabs the attention of the audience by the introduction of high-pitched sarcastic laughs and abusive language that are made by both the police officer to make humor of the lovemaking of the Mad Max character. (Bambra, & Maryon-Davis, 1992). This shows the seductive but yet abusive nature of the Mad Max character that is later seen in the later stages of the film. Direct cut Shot 2: (4:13 - 5:12 - 59 seconds) The ball starts with showing the legs of the police officer at the bottom of the screen that symbolizes to the viewer the authority that the law has, however, the laziness, slow nature and lack of teamwork of one of the police officer is shown when he does not take his partners' command to follow the criminal quickly. (Bambra, & Maryon-Davis, 1992). The Mad Max character also shows a disregard for law and breakage of the law with no concern for other road users. Speeding cars are a demonstration of indifference for the law. The police sirens sounds display the intense nature of the situation with the classical music and scary music indicating the intensity of the high speed pursuit He speeds out of control in order to escape from the police officers who are determined to get him, despite the challenges in aiming and getting their target. Mad Max laughs are intensified with the success of escaping the first two police officers who crashed beside the road. A mild fade out of the shot illustrates the smooth end of the shot despite the violent, scary and aggressive nature of the shot. (Bambra, & Maryon-Davis, 1992). Direct Cut Shot 3: (5:13- 7:14 - 2 minutes 1 second) Shot 3 starts with the failure of police unit 1 to get him despite having a chance. The laughs of the Mad Max show sarcasm and rebellion to the viewer. The scary noise is intensified when the police unit one fails and the high pitched abusive language of Mad Max is magnified to show the level of the rebellion to law. The determination of the police officers is further displayed by resuming the pursuit even after the first failure. The camera zooms into the car of the police unit 1 to show the faces of their struggle and commitment to capturing the assailant. (Bambra, & Maryon-Davis, 1992). The high pitched laughs further intensify Sarcastic Humor by the assailant's girlfriend who shows a softer side. Shot 4: (7:15- 8:20 - 1 minute and 5 seconds) The shot is similar to Shot 2 and 3 with the intensity of the pursuit highlighted by more scary music and fast cars. The characters are displayed openly, and the police and the assailants cars are zoomed in to show the level of speed and the damages. The fury and the determination of the police officers are canceled out by the laughs and abusive high-pitched tones of the assailants remarks. (Bambra, & Maryon-Davis, 1992). His girlfriend continues to smile and show a softer rebellion although it adds up to the assailant's profound and loud voice. . A mild fade out of the shot illustrates the smooth end of the shot despite the violent, scary and aggressive nature of the shot. (Bambra, & Maryon-Davis, 1992). Direct cut Shot 5: (8:21 - 10: 20 - 1 minute and 59 seconds)Shot 5 is a display bright sunny day with a long road with speeding cars. The intensity of the pursuit is cooled down by a group of police officers who are having a snack at a motel. (Bambra, & Maryon-Davis, 1992). However, the police sirens grab the attention of the view with high-speed camera chases. The resumption of the quest is shown with the high-speed motorcycle and a calming wind and playing child displays the piece of the neighborhood. (Bambra, & Maryon-Davis, 1992). However, this is disrupted by high pitched crashes and smoky cars and damaged objects showing destruction and anarchy. Direct cut Shot 6: (10:21 - 11:21- 1 minute)With the close up speed pursuits and loud sirens and emergency screeching noises, the viewer is taken back to the high-speed chase that involves distraction. The suspense is intensified with the damaged car and a baby standing in the middle of the road that is almost involved in the crash. (Bambra, & Maryon-Davis, 1992). The damage and speed serve to display a disorganized level of the film context. High pitched screams also include suspense in the movie. Direct cut Shot 7: (11:22- 13: 20 - 58 seconds)The high-pitched arguments by the police officers is reduced to low voice of the police officer to the other when they crash and get injured. (Bambra, & Maryon-Davis, 1992). The small sounds show desperation and hopelessness in the pursuit. However, the assailant retains a commanding voice. (Bambra, & Maryon-Davis, 1992). The camera is zoomed to the 3rd police officer who is the interceptor and comes out in a slow and collected manner into a long winding road. (Bambra, & Maryon-Davis, 1992). Direct cut Shot 8: (13:21- 14:16 - 55 seconds)The third police officer ignores the high pitched voices of the assailant of the radio, and this displays courage in the pursuit. (Bambra, & Maryon-Davis, 1992). The camera is zoomed to the road, and desperation from the assailant is shown in a close frame inside the car. The countryside dusty and grassy environment displays the peace of the place. However, this is usually disrupted by the high pitched noises of the car's engine, screeches and sirens from the pursuit of the assailant. Direct cut Shot 9: (14:17- 15: 19 - 1 minute and 2 seconds)Shouts and calls for desperation are seen when the car is about to crash with a close-up frame of the wide eyes showing the weight of the situation. The assailant and his girlfriend car crashes in a big fireball, and this is completed with low-pitched music that marks the end of the sequence. (Bambra, & Maryon-Davis, 1992). Shot 10: (15:20 - 17:10 - 1 minute and 55 seconds) The ball 10 is introduced slowly by A mild fade out of the shot illustrates the smooth end of the sequence. The music is more fresh and classical to reflect the family of the third police officer. (Bambra, & Maryon-Davis, 1992). Most of the noise is now gone after the demise of the assailant, and the focus is on a relaxing family life with peace and understanding of a wife and their baby. The background music is changed to classical and comforting rhythms. References Bambra, C., & Maryon-Davis, A. (1992). Strategic Review of the Mad Max Creative Movie Art (Creative Review). Task Group, 43. Read More