Mad Max - Jenseits der Donnerkuppel

The first 40 minutes were terrific, but when max meets those kids in the desert it all goes downhill. The first half had this dark gritty look to it even if the violence was toned down. But when Max meets those kids it becomes all bright and lighthearted. But why is this movie 18a here in Canada, all of the violence in this movie is restrained with the exception of the Master blaster fight in the thunderdome.

The first half of this film -- the part with Bartertown, Thunderdome, etc -- is brilliant, not just a repeat of THE ROAD WARRIOR but a totally new concept, thoroughly fleshed out. The second half, with the lost children, isn't as good -- and, more to the point, doesn't quite mesh with the first half, despite Miller's attempts to tie it all together at the end. Still, it's well above average in a genre that has increasingly come to believe (wrongly) that special effects are more important than plot and character.

This will be silly and disjointed for those who found the second mean and rampaging. Spielberg had intervened in popular imagination, so there's a kid friendly dash of Indiana Jones along with some Lone Ranger. But from Mad Max I come away with two things, the narrative edges of world we discover and the cinematic action of the chase.

I don't take to the Bartertown portion of the film, it may be closer to Road Warrior in spirit but all I see here is rushed spectacle intended for a boorish audience, contraptions. We do see a bit more of the Max world around this place but not in any way I care for. It feels like this part was bolted on when they decided to turn a separate script into a Mad Max movie.

No, I find myself oddly captivated by the Lord of the Flies portion. There are glimmers of magic for me in the way the narrative of something that crashed from the skies one day has been preserved in the minds of kids. The way it's revealed through a screen that frames remnants of half- remembered story, the chorus of awestruck kids for whom all of this has profound meaning.

It does open up a window to a whole swathe of Max world but this time with deep feeling, as myth the kids have vowed to keep in memory and bide their time for. Sure, we are in Goonies territory and again in the end with the city, but there's hushed yearning here, an almost Biblical kind.

The rest is in the big chase, a train this time, briefer than usual and over before it really exhilarates, as if more by obligation than real affinity for it. They would eventually build a whole other film around it, extending it to an entire circus around the rig, but that would have to wait for 30 years.

Mad Max Beyond Thunderdome was a bigger production than its predecessor: Road Warrior. I still think I like Road Warrior better. The nemesis was more nemesisee and Mad Max himself was in more peril.

Beyond Thunderdome was lighter as far as mood (which the presence of children may have caused). This time the nemesis was the incomparable Tina Turner as Aunty Enmity, but I couldn't bring myself to hate her. The character wasn't a real hatemonger and... it's Tina Turner. She was the Beyonce before Beyonce.

One thing I'll give Beyond Thunderdome over Road Warrior is the theme song. It's top ten in my book. In 2002, for Spider-Man, Nickelback sang: "they say that a hero can save us, I'm not going to stand here and wait." Well, Tina Turner laid the groundwork for that in '85 when she said: "We don't need another hero." And she knocked that song out of the park.

Who could not love this movie? It's got more imagination than five average postbomb flicks, incredible visual design, enough alternate societies with enough backstory apiece for three more movies (including an aboriginal clan who look like Peter Pan's Lost Boys and speak a dialect you'll be copying for days after you see it), car chases, amazing costumes, one of the most original death-duel sequences ever, Tina Turner, *and* Mel Gibson! I mean, goddamn, what more do you want? I personally want another movie just set in Bartertown AND a movie that follows what happens to Anna Goanna and her clan, and they don't even have to have Mel Gibson in them - that's how rich I think the imaginative depth of this movie is. I like it more every time I see it. Genuinely something special.