FURY ROAD
Type
Reflection
Category
Culture
Sexism

Furious and Furiosa

The day after the local release of Mad Max: Fury Road, the Herald Sun’s front page screamed ‘Save Our Women’. At first glance, the notoriously conservative tabloid’s effort to thwart the epidemic of violence against women is admirable, but old habits die hard. Even in this simple three-word headline, misogyny bubbles away, seemingly entrenched in the contemporary Australian mainstream media: it is, after all, not ‘Save Women’ or ‘Save Us’, but ‘Save Our Women’. Implicit here is the suggestion that women need men to save them, that women are things to be owned.

The idea of violence against women as a property crime between men has a long history. For example, as Kate Millett noted in 2000, ‘traditionally rape has been viewed as an offense one male commits upon another – a matter of abusing “his woman”’. The proximity of the Herald Sun headline to the release of the much hyped fourth instalment of George Miller’s iconic Mad Max series is profound: as this headline reminds us, imagining a world where broken masculinity is in charge as the film suggests is, sadly, all too easy.

It would be a mistake to assume the fantastic, fictional parameters of Fury Road’s cinematic dystopia render it ideologically barren. One of the film’s pleasures is in just how much it relishes sacrificing subtle political subtext for aggressive, in-your-face text. In Fury Road, women are called ‘assets’, bullets are ‘anti-seeds’, and breast milk is literally farmed. A large piece of graffiti in the women’s living quarters, shown early in the film, reads: ‘We are not things’. Car-chase heavy action vignettes are framed in an uncomplicated way around the villainous King Immortan Joe’s (Hugh Keays-Byrne, Toecutter from the original 1979 film) discovery that his supposed ally, the indomitable Imperator Furiosa (Charlize Theron), has taken his ‘wives’ – five young women of good breeding stock – in an attempt to free them from his abuse and oppression.

In Mad Max: Fury Road, normative masculinity is not just broken, it is literally diseased. Survival for women in this film in many ways relies on their ability to find a way forward beyond often contradictory tribal manifestation of the kind of bat-shit crazy masculinity that can only be deemed ‘unreal’ if you are privileged enough to see no problem with the current gender political status quo. Fury Road is hysterical, violent and absurd, but do a quick read up on Gamergate and tell me the real world isn’t. That Vagina Monologues mastermind Eve Ensler was a consultant on the film is now widely known, and her involvement in expanding the film’s depictions of women who have survived trauma beyond Hollywood’s simplistic clichés manifests clearly on screen.

Cast in the eponymous role made famous by Mel Gibson, Tom Hardy is faultless in his reimagining of the iconic Max Rockatansky. Initially thrust into allegiance with the women by fate rather than choice, Max – and later the disillusioned ‘war boy’ Nux (Nicholas Hoult) – join their plight, an important reminder that feminism is not about a simplistic men vs women configuration, but rather a battle on a unified front against systemic oppression based on hatred, ignorance and difference.

But the film belongs to Theron. While she tackled a character that used violence as a way of responding to patriarchy in her Oscar-winning performance as real-life serial killer Aileen Wuornos in Monster (2003), Fury Road is, at its core, a nightmare future configured around reproductive rights. Although broadly dismissed as a poor adaptation of the cult MTV animated series of the same name, Theron’s title role in the 2005 film Æon Flux was a tentative step towards a feminist reproductive rights superheroine. In Mad Max: Fury Road, we see the ideological threads of these past roles intersect in an explosive performance; a confident, take-no-prisoners frenzy.

The ‘fury’ in the film’s title is strategically designed to flag a broader demand for an end to oppression: the movie is doubtlessly as much about Furiosa (‘furiouser’) as it is Max himself. Recalling John Wayne’s redundant hero at the end of John Ford’s legendary Western The Searchers (1956) as much as Gibson’s Max, Hardy’s reimagining of the role presents a man forced by circumstances into a rock’n’roll, octane-fuelled ideological boot camp. Every frame of Miller’s recent film is a call to arms: the question is not why are the quivering Men’s Rights Activist goons so afraid, it is why aren’t they more afraid?

With South African-born Theron, British actor Hardy and a non-stop parade of familiar Australian faces, from the part Maori Megan Gale to Quentin Kenihan to Joy Smithers, Mad Max: Fury Road explodes out of a colonial consciousness. It also has particular poignancy specific to its Australian origins. For instance, its chroming, gullible ‘war boys’ are a grotesque caricature of what the cynical corporate-branding excesses surrounding the recent Gallipoli commemoration appear to suggest is the vision corporate Australia has of its primary demographic: a mass-boganification of the Australian public. Miller throws it back in their faces with the same ugly, shit-spattered aesthetic such cynicism deserves.

Mad Max: Fury Road is a reminder that the spirit of revolution – a demand for sudden, dramatic, urgent change – is not just possible, but sometimes essential. It is a wake-up call to the ideological conservatism and lack of diversity in contemporary blockbuster cinema. Even for those unmoved by Miller’s engagement with genre cinema – action movies are admittedly a distinct taste, and this film’s collage of car-chase set pieces surely will not be for everyone – Fury Road reveals that the film industry’s mollycoddling of an assumed fratboy majority is an ideological decision that upholds the dominant paradigm. Fury Road offers a joyful two-hour window into a world beyond this, revealing cinema’s potential in a post-Furiosa world.

Overland is a not-for-profit magazine with a proud history of supporting writers, and publishing ideas and voices often excluded from other places.

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Alexandra Heller-Nicholas is the author of five books on cult, horror, and exploitation cinema with an emphasis on gender politics. She is currently working on a range of projects that intersect with women’s filmmaking, including co-editing an essay collection on Elaine May and writing the book 1000 Women in Horror.

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Comments

  1. Hmm …

    It is always interesting (and a little peculiar) to see how people choose to imbue certain philosophical and ideological bents upon things … or simply repeat the same philosophical and ideological bents they’ve read elsewhere.

    Much is made of FURY ROAD’s positive messages for females, almost to the point of echo-chamber absurdity considering exceptions to such positive messages are not hard to find.

    For instance, “Who killed the world ?” asks the glamorous and sheltered ditz after pouring gallons and gallons of water into the sand in an effort to keep herself pristine.

    Here’s a tip, luv … that kind of behaviour didn’t help. (And bizarrely this character is being held up as a role model)

    And depicting all the female characters as seemingly clueless about, and non-participatory in, the actions that led to the destruction of the world, is hardly flattering about their foresight, perceptiveness, alertness and agency.

    It seems like poor Max is surrounded by the same slack-jawed imbeciles that drove Dr Quinn Medicine Woman to distraction every week.

    And outside the realm of the story itself, the decision by Director, George Miller, to cast a bevy of beauties in key supporting roles based more upon their celebrity and hotness than their demonstrable acting ability isn’t exactly the best message to send for females in the audience.*

    But then I guess, as with all cultural commentary, viewers will choose to see what they want to see and overlook what they want to overlook according to their own biases.

    Personally, I happen to find it extremely odd that there has been so little commentary about what FURY ROAD says about the Indigenous Stolen Generation based on the thumpingly obvious line from Furiosa.

    Or the dangers of privitisation of public utilities like water.

    Then again, knowing what constitutes a sexy outrage issue and an unsexy outrage issue, maybe I’m not so surprised after all.

    ————

    * Unless the actresses involved lied about their ages which makes it perfectly acceptable

    • You make some good points, I like the privatisation of water. What’s the line about the stolen generation that you’re talking about?

      I also like your comment on wasting water, didn’t think about until now, but yeah, I guess they were sheltered and/or didn’t access to much at home?

      The whole beauties thing is self-evident, a warlord would only choose the best for himself. Do you think Splendid scarred herself?

    • But I think to cut to the heart of your point, I wish giving your opinion was less easy. We’re too caught up on reading about every piece of media with endless op-eds and never-ending twitter feuds. All for what amounts to essentially nothing.

  2. Furioso left those large women attached to the milking machines. She also left the old woman with the shotgun. She only took the Victoria Secret tall anorexic eye candy models with her. This is NOT a feminist statement no matter how you cut it. This was Charlize Theron being a man. It still was a great film for entertainment but lets not get carried away with reading things into it. ‘Dead Calm’ was a more feminist statement from George Miller than this rollercoaster ride of nutcases.

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