Furiosa: another marvel from George Miller with a stellar Chris Hemsworth

Furiosa: another marvel from George Miller with a stellar Chris Hemsworth
Furiosa: another marvel from George Miller with a stellar Chris Hemsworth

It’s been almost a decade since the release of Mad Max: Fury Roadthe dazzling action movie from George Miller, an intensely strange and inventive practical effects riot that was expected at the time to inspire a new era of artistic blockbusters. Unfortunately, that was not the case, so Miller has returned to offer us a new proposal. Furiouspremiered at the Cannes Film Festival this May 15, is the story of the origin of the character that gives the film its title and sets the stage for the end of Fury Road.

Prequels are usually not inspiring. The suspense is dampened by familiarity; backstories often mesh poorly with what came before (but happens after). The study’s miscalculation is that the public will always want to know more about a character about whom only tantalizing details were previously available: surely we all crave a specific account of how Furiosa became a formidable lieutenant in the army of a warlord. we stopped. I, for my part, don’t… the truth is no. It is difficult to get rid of this skepticism as Furious it gets going.

The film begins with a young Furiosa (Alyla Brown) that lives in a green Eden, a matriarchal society hidden from the gun-and-gas mobs that roam the desert. (The place is so charming that you wonder why anyone who lives there would give her children such a bellicose name as Furiosa, which I had always assumed was a nom de guerre.) How do we know what is going to happen, because she already alluded to it in Fury Road, Furiosa is taken from her community and turned into a pawn in the tribal wars of men fighting for resources. Her tragedy is the beginning of our adventure.

Furiosa finds herself first in the unfortunate company of Dementus (Chris Hemsworth), the cocky leader of a biker gang who travels, very cunningly, in a car pulled by three motorcycles. He sees Furiosa as a prize, a student, and a bargaining chip in his campaign against the rivals who control what remains of civilization. Thus we meet again the villain of Fury RoadImmortan Joe (now played by Lachy Hulme), fearsome tyrant of the Citadel, who uses its water supply to grow crops that are exchanged for bullets (in the Bullet Farm) and fuel (in Gastown). As we have seen Fury Roadwe know that Furiosa will eventually fall under Joe’s command and will later escape from him.

That inevitability is a weight around the film’s neck; It’s hard to be surprising or narratively agile when everyone knows what’s coming. Miller must, therefore, rely on his scenes to stimulate the senses, to make this whole race toward destiny worthwhile. Once the politics of food, gasoline and weapons were resolved, Furious accelerates the engine and pursues the greatness of its predecessor.

He can’t reach it. But she gets close enough that we can glimpse the taillights of Fury road In the distance. Furious, with its speeding motorcycles and paragliders shooting fire from the sky, works best at full speed. When the film comes to life about halfway through, its cacophony of machines is thrilling. It’s also strangely comforting: oh yes, there’s that glorious old noise again.

This time there is more use of green screen, but Miller still maintains a much more analog style than many of his blockbuster brothers. He feels the crunch of metal and bone; It is palpable and the tension of the doubles and the main actors pushed to the limit can be appreciated. Each locale – Gastown, Bullet Farm, the dizzying heights of the Citadel – is richly represented, with small towns vividly dotting Miller’s map of Hell. Miller conjures immensity and then zooms in on the alternately moving and pitiful spectacle of a few people struggling to survive it.

Once Furiosa has grown up a bit, she is played by Anya Taylor-Joy, which handles the physical demands of the role with elegant rigor. Drive, shoot and stride over a speeding tanker truck with unwavering composure. It’s easy to draw the line between his Furiosa and the version of Charlize Theron, aided by the film’s increasingly compelling emotional arithmetic. Furiosa has a love interest of sorts, the Praetorian Jack of Tom Burke, who can offer her a way out, a way back to the lush home from which she was stolen. But hope is something terribly ephemeral in the world of mad Max; Miller’s vision of relentless, all-consuming cruelty looms over her and terrifies her.

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