Speaker 0 (0s): <inaudible> 

Speaker 1 (25s): Hey guys out of here, Colin will not be joining us this week. So I'd say this is going to be an interesting experiment and form we're breaking away from our usual conversation driven podcast style to do some different. I'm doing a commentary track for the 1979 film mad max, the original film, the mad max trilogy or Quadro Elegy, I guess at this point. So this, the movie streaming on Netflix now, and the idea is that I'm hoping that you will watch the movie along with my commentary track. 

So it's bring up Netflix bringing up mad. Max, here it is right now. And I'm gonna count down from five and then I'm going to start the movie. Alright. So I think everybody should have time to be ready. So it's going to be, after I say one, I'm going to say go, I want to say, go press play. So five, four, three, two, one go. 

The score is so intense. First of all, the score is just crazy. Then this title sequence, boom. Oh, it was used Trump. It's Blair. I mean, this movie does not waste any time. This movie does not screw around. This is a high intensity, pure cinema motion picture. So I want to note that this is not, Brian May have cream queen fame. It's not the Brian May play guitar and queen who did the score. 

It's a different guy named Brian May. So I think he should change his name to Brian May not be the Brian you're thinking of. Alright. That's very interesting a few years from now. And that's the only cue we get that it's the apocalypse aside from these visual cues that are throughout the movie. So yeah, this dude, this Tubby Tubby sniper cop looking at two people, f*****g another cop is in the car, kind of a, kind of like a, an a*****e kind of, you know, but there's a cop killer. 

Okay. So then this guy, the scope, a killer cop, he looks very young, kind of a Kyle Rittenhouse vibe. Hopefully that, that reference won't make sense in a couple months, but here we are. So highway six, you know, high fatalities, lots of death, but here's, what's interesting about this film and why I was so fascinated by it and why I'm doing the commentary. So this is probably at first watching this introduction of, of Mel Gibson. 

This takes forever. It's amazing. So here you see his boots. All right. That was my Gibson's boots. Now it's back to this Tubby guy, the TBI cop, who was guy with the other joker cop. Yeah, there was, when this movie came to home video and America in the eighties, there was a, it was dubbed over. So you wouldn't get these Australian voices, which is crazy. Cause they're great. I remember watching when I was in high school and I couldn't stand the dub version. It seemed like the worst movie in the world. 

Okay. So now we have the back of Mel Gibson's head. He, and you know his shirt. You still not in his costume. He's got grease on his hands. We still haven't seen his face straight on. All right. This guy, he's amazing. The night writer I saw obviously years before the TV show. All right. So now Mel Gibson suiting up still. It's like this, the longest montage intro for a main character. 

It's so crazy. Oh yeah. So throughout this movie is going to be a question of how do they film all these car, chase sequences. Some of it is that it was filmed with this like wide angle lens that they wanted it to be a wide screen movie. And I think it was a happy accident that the way that the lens worked, the 35 millimeter wide angle lens, that it made things in the, in the background look closer. So everything looks like re really close. Like whenever they're filming, like impossibly close to get to look at that, you'd be hit by a car. 

Look at this, like the cars look inches away from you. Yeah. That looked like the, the car's f*****g hitting the camera. And some of that's just the camera lens. And I think a lot of it's just so the outlaw brother filmmaking that George George Miller and his crew were doing when they filmed this, he was a former medical doctor, like, which is crazy. Like he worked in emergency rooms before he made this movie. 

Speaker 2 (5m 33s): Mmm. 

Speaker 1 (5m 35s): So this movie it's set right at the, at the right, at the onset of the apocalypse, like before it just said a few years from now, and then there's a skull and crossbones in the road. Right. So society here is crumbling, but the institutions are crumbling rather, but you know, people haven't really caught up to that fact yet. And there's 

Speaker 3 (5m 58s): A sort of like this, 

Speaker 1 (6m 2s): The mad max series becomes like accidentally becomes like a masterpiece. Cause it continues down the, the, the, the crumb, the crumbling of civilization posts a breakdown of institutions. So the first one, like the institutions are crumbling and Kenny, you got a good sense of that, but they're still a little bit of like a ghost of them lingering or some, something about them, some kind of presence, some kind of attempt to make it feel like it's, you know, feel like they're still in power. 

Like, you know, you still have these cops, but they're clearly like, they're clearly like outlaw, not accountable to anybody and they're disorganized and they're a lack of resources and there's, they seem like another street gang, honestly, just like, you know, but there were matching uniforms and they, you know, sort of our police, you know, but I mean, you'll see like they're like sort of a vigilante force and they're also embattled. Like, even if, if you are this okay. 

Yes, this is, this actor is amazing. It's a real weird accident of history to me that this guy is not actually mad max. Cause he's so much, he actually is much better in this movie than Mel Gibson is oddly enough. Like I like Mel Gibson. He's good. But this guy is like all the personality and all the charisma is this dude, the guy that plays COOs. Yeah. Look at him. Oh man, this guy's got, yeah. 

He's just a cool guy. And he's got this swagger and kind of goofball energy and looks good on a motorcycle and yeah, it's great. He's I I've, I think it's almost kind of sad that this guy, I think wrote the movie, the guy with the beard, it looks like a modern day hipster. Only seeing the moving. I look at all these road racing scenes. It's so, so intense and so well done. And again, like I have no idea how these shots were taken. Beautiful. Look at this beautiful wide screenshot and you kind of just get the crumbling civilization through imagery. 

Ooh. Yeah. There, there's a bunch of like putting very young children in danger throughout this movie, which is way more hardcore than you expect. Also a lot of like really curly haired ladies, like super curly hair. Like maybe they couldn't get conditioner in Australia and this real goofball energy from these guys and Oh man, the guy poor kid. So yeah, you save this crazy car chase going on. And again, you have these like outlaw killer cops. There you go. 

Boom. Amazing. Look at that. Look at that. Incredible. Just incredible. Like, you know, you can't, there's something like everything CGI now it's all like computer cars flipping all over in modern movies, but you actually see like these visceral car chases and it's, it's different so much better. You know, this is great. That car looks like it's just going to catch on fire any second. 

It's awesome. Instead. So dope looking car. Yeah. And they're peeling out and this guy's like a comedy duo. A very interesting way to start this movie. Look at that. Like how do you get that close and go? I don't know that he must be like hanging a camera from underneath the truck. Ah, how do you do that? Here's the kid peer cinema, like in a woo woo man. 

Like that editing that was Hitchcock, you know, total Hitchcock, like let's, let's, let's start cutting the imagery faster and faster and faster right before I started this. So Whoa. That was kind of Cannonball rush. Well, look at that. Ooh. Oh yeah. Beautiful imagery. I look at this guy. See, this guy is so charming. I don't know, man. I don't know. Scott gave me myself. 

I say these guys, these losers and ALS they're very interesting because they seem so they seem so comedic. And you also think they're going to be in the whole movie when this is really, their only seems very interesting, but it's also really cool that you get to know this entire police force early on. And it feels like a bunch of guys that you know, and you're going to hang out with them through the whole movie. I mean, I think that maybe when audiences first saw this movie and they saw it was called mad max, maybe they knew that wasn't gonna be the case that it was maybe it's going to narrow, narrow its focus and start, you know, just go back to mad max, a fuel injected suicide machine. 

Wow. These are all ACDC lyrics, which I, you know, obviously I said, UC is awesome, but also, you know, Australian, Australian band, they're like the Australian eldest. Probably not. I think if you're actually like now more about Australia music, depending the most famous band from Australia, but probably in Australia, there's somebody that people, you know, Revere more. I was like, you know, the Australian Elvis, but anyway, it's cool that they, that the guy just rattles off some ACDC lyrics, the towel kata. 

He knows who I am. I like that this guy's like such a motor mouth. And so I guess that the guy who wrote the screenplay was this journalist and he put in all this like hyper verbiage. So it's like all this like really heightened, heightened, like air and words. And it's like, it's beautiful. You know, like you also there, this will continue on the later films, like all like the announcing of Lord humongous, like the AIA tele rock and roll in the second one. 

And obviously, you know, whenever a Morton Joe is talking and they're very elevated language and I'm in fury road, this is great too. Just like the emotion. Ooh, look at that, that close up. And he's got spooked, which is very interesting. Like he just gets scared and he starts crying, which is again very interesting, like the heightened emotion of it. So he kinda just like loses his cool and a really unexpected way. And by the way, we still haven't seen Mel Gibson in this movie head on yet. 

We haven't seen his whole face yet. And, and, but you've already like seen him cut and, and he's made this guy the main antagonist, like he's made him cry. I mean, I don't think there's ever been a better introduction to a character in a movie. I'll look at this. This is so intense. How did they get the camera so close? I mean, I, again, I know about the wide angle lens, but that just looks like, like someone's going to get killed there. Actually, there was this done later in the movie that there was a longstanding rumor that somebody got killed in it. 

And I slept in the movie, I'll look at this, this, this another great George Miller technique of over cranking. Everything goes to the fast motion. I like that explosion. And like, so cool. Now our first shot of Mel Gibson, look at that. That's amazing. I mean that amazing. And we already, you don't have to tell us that he's anything about them. You don't to tell us that he's a tough guy he's going to driving or anything. We already know, like he's already like brought this like villainous creep, every beer that they drink. 

And this movie that just looks super delicious. Look at that. What is that? I don't want to say it looks dark and, you know, dark yet, but such an interesting, fake out. Like you think that just atmosphere, it can use it. And then it turns out to be the wife playing saxophone. And you don't know what that she's a wife yet. I think that you could probably infer it from, from here. And there's kind of an echo of this, of the blind saxophone player in beyond Thunderdome. 

So I gotta say, so she's kind of the weak link of the movie. The, the wife, like, I don't think her character is just a little bit like kind of like just this, I don't know. I don't know. She's I don't want to say too much bad stuff. I feel like her, the actress has performance is all flat and the character is really much a say, I mean, she's kind of like a, just a normal seventies lady, you know, like kind of hippie-ish but you know, like probably until like macrobiotics and, you know, macrame and things that start with macro macro economics. 

Yeah. And also, but it's very interesting, like Mel Gibson, he's very young in this and he, his characters different, you can tell he plays it different. It sounds very interesting. Cause like, yeah, this is a really nice looking domestic scene. You know, like I'm looking at this as a beautiful house, look at that beautiful view. And so, yeah, this is why I picked this movie. Cause I think that this movie resonates with what we're going through now is kind of slow crumbling of institutions. 

She's kind of like Jennifer Gray and dirty dancing a little bit. I don't know. Maybe it's just the hair, but like, so it's like the, the realization that our institutions are crumbling, hasn't quite caught up with our reality. Like there's kind of a sense of unreality about like our, our access to domestic. I know luxuries, you know, and, and comfort, you know, like I was trying to explain like being in lockdown and, and in COVID 19 New Jersey during the great depression, I'm like, yeah, it's, it's the apocalypse, but you know, we have croissants from Costco, you know, so it's weird and there's this disconnect to it. 

And I think that it's not intentional. Cause how could it be? But it's, it definitely feels very parallel to our moment. I don't know. She's doing some kind of hand what's this deal. Yeah. Oh boy. Yeah. I, so yeah, I dunno. Just like the relationship doesn't it feels like a real relationship in the sense that like real relationships can be boring. 

Oh, that's so great. That hall of justice thing. So yeah. That's the biggest visual cue that, you know, things have fallen apart. Oh, and this is young young actor, a young actor and Mel Gibson really going for it, trying to prove how talented he is. They always, you know, it's funny, like in their early roles, all these iconic actors will do something like juggling or something. They've watched bachelor party. There's a with Tom Hanks, there's like a three minute scene where he's juggling and dancing. It's like, Hey, look at how talented I am. 

And yeah. So here's the Mel, Mel Gibson tried that, but I think George Miller wisely cut it down. Oh, this is incredibly interesting. First of all, this, this character that the mechanic, like what the f**k is that like spaceship thing in the back, it's really weird. Some experimental rocket car, I guess never gets any play in the movie, but yeah. So this guy is only in this scene, the mechanic and he is, but his performance is really great. I look at that shot. Yeah. The loss of the Heights. 

And he's so good. Right. And it's very funny here, you know, he's kind of like a rockabilly guy. He's got this interesting stutter and all this enthusiasm about this, like very youthful, innocent enthusiasm about motors and cars that sort of echoes the mad max fury road, the road boys, like, you know what? Their half lives, well, you know, like shiny and Chrome forever. Like that same, that same energy. 

And look at this, look at Mel Gibson. Like he's so he's like a kid at Christmas. It's so interesting. I have a piece from here, a piece in there. Yeah. And he looks enthusiastic and this, yeah, this is, well, I want to get to this. Cause I like going, he says, when do we go for a ride? That's such a frat boy thing. And again, there is this sort of like, like the bore boy thing of like just sort of liberation and identity through motor vehicles, you know, through speed. 

And so I guess from what I understand, the, this is very interesting. I think this is the movie is very indebted to the guy, has a, a fencing hat, fencing helmet for no reason. Or I don't know. I don't know what that sport is, but a very interesting choice this guy, by the way, he looks amazing. The police chief, he looks like sending Ivan anime movie. So I guess the impetus, from what I understand, cause a screenwriter who was a journalist and Australian journalist, he said that he was inspired by the oral crisis for this. 

Now a lot of people think associate the mad max film series with post nuclear war and nuclear fallout. But it's really not the truth. Not really what caused the apocalypse that these movies occur. And it's really just about resources drying up at the intro of the road warrior, AKA Madmax to there's talk about the machine, stop moving and there's no more oil and so that, but then people can't stop driving and they can't stop using machines. 

So I don't think I it's very tempting. I don't think it's too much of a reach to say these movies intentionally are not an interesting commentary on capitalism. Cause like you can't stop this, this pursuit of freedom through, through machines, through cars, even though the machines are really, you feel like you're using them, but they're really using you. This is an amazing scene. This is just iconic here. 

The, the actors in this scene, my first one, a woman was beautiful. Second of all, these people, just these amazing faces, like you're Yeah. Like I look at these guys like, okay, that guy looks like Bon Scott in the back, the guy in the red hoodie and all of these and this guy is really funny. She's beautiful. I don't know. She hasn't styling. She talks a lot in the movie, but she is so physically striking. I was like just, wow. You know, this guy looks like he just stepped out like a 1950s, John Ford Western, actually a lot of the movie does, but yeah, so you have this, the institutions are crumbling, but people still love their machines. 

And now this law, this element is starting to rise up. So it's just the beginning of the end of days. Like this is what the first of the end of the days look like. I hearing you as the toe cutter. So I've heard about the toe cutter for another guy. I know the terracotta, you know, it's there he is. He's also same actor played a Morton Joe and, and mad max fury road, which blows my mind. It really blows my mind every time I think about that, he is the bad guy, the main bad guy in the first and the last mad max movies. 

Also Santa crazy that this guy seems to have a Pepsi logo, the side of his motorcycle helmet. But if these guys start slow dancing here, and which is really interesting because clearly like this is Georgia Mueller's first movie and low budget. So they're all Australian actors. They're all much. It's been taken from my drama schools and theaters, whatever. So you have all these like theater guys, I think that are trying to be tough. And I read somewhere they're a real street gang, but like the way they act they're very like dramatic and they dance around. Like they want to show off their dance training and stuff. 

I'm not this guy so much this dead pan guy. Well, you'll see like the dance and stuff. And it seems a little bit like unrealistic or, or false. Nope. I stand by that. So it could, it is the beginning of the end of days. And if you ever look at like cults or even like drug scenes or like the Manson family, or even just like, if you're talking about like people go like club kids in the nineties, it's like, well, we were all, you know, having fun and taking a lot of ecstasy and we, everything felt real good. 

But then after a while, like somebody got murdered and you know, death came in. So it's like, I initially with these things, like, it's like it's fun and freedom and, and expressiveness and this performative thing, like that would be friendly to like people would be kind of like a theater theatrical and performative and stuff. But then, you know, the days get darker and those people either toughen up or leave or die the night rider. 

I so good. The night rider. Yeah. I like how he has like one eye with eye shadow. I assume in the background, you know, the guy with the curly hair and the, and the white scarf who, he's a big part in this movie, he's one of the main characters, but he, he reminds me so much of jello Biafra lead singer, the dead Kennedys. I don't know. I don't know if that's a fair comparison or not, but I, every time I see him, my job offer the blonde guy. 

Who's awesome is he seems like he should be in the movie a lot more than he is. But I think he's only in a couple of key scenes and a lot of hissing from, from the toe cutter. That's kind of the back he looks awesome. Anyway. So let's talk about capitalism. This is a movie about how people S pursue liberation and freedom through, you know, machines and, and consumer goods, name, lane, motor vehicles. 

But actually like these things possess them. Like they don't use the cars, ultimately like automobiles use them because it gives rise like this, this is not intentional about this movie, but you look around like, there's a low, like low population density. There's a lot of farms. You see a lot of green, like this is a nice place to live in. Like people's needs will be met. You know? Like, you don't need to fight, you don't need to fight or you don't need to scrounge for resources. 

Or these guys are, these are the very theatrical, like theater kid kind of guys. Yeah. And they start dancing and singing and stuff, which, Oh yeah. It's like very, like when you're a jet, you're a jet all the way, but also kind of threatening, but Oh yeah. Yeah. Very, very like theater kid, trying to be pretending to be tough kind of vibe. But like I said, it works. There's a logical reason for it. So yeah. So you think that you're using the cars, the cars are really using you and it's like, you know, they're throughout the movie, you see low population density, you see farms, you see sheep, you see crops. 

I said, bike, nice places to be, maybe not this town necessarily, but you're like later you see like beaches and woods and stuff. And so this is not a, this is not a time of scarcity, not quite yet, but so all you have to do is really just give up the motor vehicles, just give up the cars and give out the motorcycles and just, you know, 10 lands. And, you know, you can have lives, you know, you can have a civilization, but people are not willing to give up, willing to give up their motor vehicles and their car culture and their consumer goods. 

And so that gives rise to the crumbling of institutions and lawlessness. And, you know, he's very like very kind of, you know, manga kind of a biker guys. Oh, this is amazing. Just like, look at that. So again, like, yeah. So I think that the film right now, the film canisters probably overcrank so they shot it slow. And so we're seeing it now. So it looks fast, it looks sped up and this is so scary. 

Yeah. Incredible, incredible editing throughout. But you know, so anytime anything, anything really intense happens, like it, it cuts faster, a classic Hitchcock, language of cinema, you know, language of suspense like this. So yeah. So, you know, you feel like you'd be safe inside of your car and you can escape, but now you're trapped again, you know, maybe non-intentional metaphor. Oh yeah. And this, this is so everything has such tight closeups and so fast. 

It's all just explosions of glass and having this tumbling down. Yeah. And there's destroying this car and it's pretty cool car, which is a bummer obviously, but this girl was screaming so amazing. I, here we go. I mean, now this is pure cinema, like this just like surgey, Eisenstein. Oh yeah. It's montage pulling them out. Now this guy moments that he said, no worries. I look at this shot, this crazy crane shot. 

Oh yeah. And that bird thing, I dunno. I don't know. This is a, this is like some advanced filmmaking. It really, really is. I am. Oh my God. Yeah. So this, this Mo motorcycle, this side car, this is the craziest vehicle. Looks like a matchbox thing. This looks like something that wouldn't exist in the real world. Like I said, little, the little clear plastic bubble that goes over the lady I, that couldn't work that would just fly off. If you try to use it, or if you be inside of you just be so, so hot and uncomfortable. 

I am just like, it looks, it looks so cool. It looks so cool. And I don't know if they, I think you see it moving for like one second, this guy, he looks like Marky Ramone animal boy. Yeah. Kind of like a buff Marky. Ramone. Yeah. Look at that thing. Amazing. And all the vehicles are great. Nice side swipe. Very. Oh, let's going to star Wars. I like this guy. 

Yeah. See all the personalities on the, yeah, this is very interesting. Is there's blood coming out of his a*****e, which is just a horrible detail. And this guy just, just totally. I love that. What a Turkey. Okay. Adding, I, you know, adding insult to injury that guys, you know, clearly had a real bad and then he is a cop is coming to save him, calling him a Turkey. 

Cause he's running away, which is the only thing to do though. It makes sense in this situation. So yeah, this is a little, this is a little somehow fuzzy on. I don't really get the plan here. So this, the jail would be offer a guy. They left him behind. And I don't know. I don't know quite why. I mean, you see why later either. Cause the film in a way it's very indebted to dirty Harry, which is kind of the worst thing about it. 

Cause it's kinda like dirty Harry and you know, like a vigilante cop who, you know, whatever, but it's set in the future and it's more intense, but so you have that same kind of like dirty, Howard's very reactionary movie, this poor girl and this guy, you know, trying to use all his charisma. So yeah. I don't, I don't know. I'm a little fuzzy on like what the plan was for this guy. Cause you see what happens later and it's, it's actually very funny. It's a very interesting thing. They had Mel, Gibson's trying to make sense of 'em he really has not said a lot in this movie and this guy comes in and yeah. 

He's he just seems to have all the charisma, he drops out of the movie and you miss on. It's kinda like, I hope, you know, I guess spoiler alert as poor girl, like a charm bracelet. Some of that like a middle schooler would wear, Oh yeah. You can't believe him. I thought maybe like the shoe, another shoe is gonna drop here. Like he was going to approach her and then they would have like, you know, the car would exploded. 

I, I don't know if that guy's supposed to be high or what? Yeah. Cause like I said, he's high. I dunno. And they left him behind for some reason it's some kind of trap and I don't know if he was, did it on purpose or whatever. Yeah. Yeah. Another miracle camera angle. Like, look at this where the f**k is the camera on this? Like I guess he's standing in that truck holding the camera and it isn't like an iPhone. 

Like it was probably a lightweight camera for the time. But so you're holding a g*****n movie camera, the film as it's moving, like, you know, high speed. I don't know Johnny, the boys sent it again. This time it's a scrubber. He's never going to learn. I don't know what that solid, but maybe he was maybe he was like, he was raping the girl or something. And that's why he was back there. Cause he just got high and raped the girl. 

And now they're mad at him. I don't know. I don't know what's going on, but honestly it's important. Cause he do, he also get the sense that the toe cutter doesn't like the Jelaby offer a guy. I don't know his name. I'm just going to keep calling Jelaby off bro. And this guy doesn't like him either, which is really interesting. I mean like, I don't know. Cause he becomes one of the main antagonists and all the bad guys kind of hate him. And he had the halls of justice with the, you have fallen down so great. 

And Oh, and inside just looked so beaten down so clearly like the cops are not, you know, they they're, they're not, they don't have much money or something. I don't know like what, it's a farce like the, the, the police force has a bit of a farce, but it's also like, if you didn't have these V you know, if you didn't have cars, if you didn't have gasoline and stuff, he probably wouldn't need the cops. Cause everybody would just be honest kind of subsistence farming thing or living in cities or, and isn't like, the cops are all that great like that you see in the opening scene that they're all like hell bent on murder. 

And there, the one guy was spying on the spying on the couple having sex. You know, they're not they're they're, they're not angels. There's that guy. I am looking at this guy, the, the chief, once he's in his, his uniform, he's about a head taller than everybody else. I didn't know this guy. So none of this guy was, I think he's like the comedic duo at the beginning. And now he has like that throat thing. Cause he got his throat cut. 

Speaker 2 (34m 19s): Hello? 

Speaker 1 (34m 21s): Talking like daft punk vocoder. There you go. Jello, 

Speaker 2 (34m 28s): All set. 

Speaker 1 (34m 29s): This guy kind of looks like it kind of looks like the guy knives out. The James Bond guy. What's his, what's his name? Craig something. Danny Crick. Yeah. It looks like Daniel Craig, this guy's so amazing. And then I don't know why that, why is it? I'm also not sure why it goose is mad at this guy for the connection with Knight rider. I don't know why they're mad. I mean, they got the better at night rider. They killed him. You know, I asked, let me have these, these guys are hilarious. 

These guys are amazing. It's like they stepped out of a Buster Keaton movie or a sitcom that guy of the game. And the other guy just looks like a nerd. It's like the guy from a police Academy, the guy, the flower shop owner who I forget the actor's name, but he was also in Saturday at live, I guess. Nope. I guess nobody showed up to testify against these bad guys. 

And now it says, no know this is very indebted to dirty here, which is very, that guy's hilarious. I love that tie. That's exactly what you're going to do. He's such a great nerd. I've heard of Larry Darryl and Darryl from new heart or I don't know. I know I'm spiraling off of these comparisons, but there's one that's really good and I'm not quite hitting it. Oh yeah. And this, you know yeah. Dirty Harry, like I have rights. I have rights. I know my rights. He's just like the, the Serpico killer from dirty Harry. 

Yeah. And sort of like, you know, the corrupts defense attorneys, you know, and it's funny. It's interesting. And it's great. It works as a storytelling. I think that, you know, ideologically, it's a bummer. Cause it's like defense attorneys get a bad rap and you know, but it's, it works. It works great in the movie. And look at this, I actually thought that this whole thing was put on by the cops. And I first watched it, Oh, by the way, I watched this movie of the first time, like two days ago, I, for a lot of reasons that don't make sense. 

In hindsight, I love that way. He taps his head twice. I don't know why that's so insulting. See you later goose. And then he taps himself in the back of the head. I know what I hear it goes. So they're like, Oh, you can't beat him. You're violating his rights. But they killed a guy without consequences before. Like, I don't know, it's not a logically consistent, but it works really well as a story. And it's fun like that. I would highly advise not thinking about that too much. As you can tell, I already did. 

I'm interested. It's funny how these tuna nerd lawyers come in and do that dirty Harry thing where it's like the system is to corrupt and protects criminals. And you know, we gotta give cops the power. They need to really make the streets safe and whatever. And I'll see how these guys are gonna keep taking over or whatever it is, you know, which is b******t. Total f*****g b******t. I mean, you know, from the vantage point of black lives matter protests and from 2020, you know, it's like, you know, you know, that's b******t, but whatever, again, it works as a story. 

I look at this kind of look at this beautiful beach. So you have a nice, beautiful beach for the pier and this beautiful blue sky. So, you know, the apocalypse, the, the burnt out the burnt out apocalypse, Ooh, sexy ladies, the burnt out desert apocalypse. So you would see in the road warrior and beyond Thunderdome, not quite happening yet. And that makes sense. I mean, it's not intentional, but it totally makes sense. 

It totally works. And so if you watch this, this film series one movie after another sequentially and be very interesting because they would just escalate and kind of intensity and it kind of is a story of everything crumbling very slowly. So right now this is like the last vestiges of society and everyone's kind of holding onto it. And so then, but then there's this, this kind of a, I dunno, this fascist sort of a gown I'm talking from 2020 wherever I sing about fascism, you know, but there's, there's these roving street gangs and they're on the rise and they're clearly going to be like, they are in power by the second movie, but here, you know, they're just kinda getting their s**t together. 

I don't, I don't know. Yeah. I don't know the point of this relationship. Exactly. So they all hate him. And I don't know, he's trying to prove himself to the gang or something. I don't know, man. Maybe quit the gang and go sing some f*****g, you know, California punk rock with, with some so f**k influences. This is a beautiful sequence. It's really weird too terrifying. 

So saying keep your sweet mouth shut. I don't know what that's in reference to. Like, there's gonna be a trial, but they're already, you know, they already let him go an idea. Like he's gonna force him under water. It's so beautiful. And it's such a beautiful moment of cinematography and there's just like, Oh, okay, this is great. This is amazing. I'm just gonna shut up for a second. Look at this lady. Look at those feet, look at the shot, man. This is so crazy. This is so well done. And I was so pleasantly surprised by how f*****g genuinely funky this song is. 

I did not think there was going to be like a real f*****g down funk groove hidden in the first mad max movie, you know, <inaudible> and the lady is so striking too. Like she's a very interesting choice to be the funk singer and this kind of, I dunno, future nightclub. Cause she works. She's anxious, you know, just kinda got the Shelley Duvall vibe, but she looks at me like she could like teach kindergarten, but the case like, sir man, the cases, all the cases on fire, again, the beer looks delicious. 

The liquors ride BombBomb, such a good tune man. And taming the edge of the dream intensity man. Whoa, intensity and sensuality. Yeah, she does. She has looked like a, she hasn't really looked like a seductress. I don't know. But then, then there are, you know, she looks like a school teacher to me or something. Nice lady and I can't, she live in the suburbs, but I don't know if she sings that song. 

If that's a real singer, it sounds almost like it could be like some Grace Jones style, you know, lady what's what is that hanging on the wall over there and that just a baby. Yeah. It's just a little baby doll. It's weird. And I don't know what the, yeah, I didn't know what was going on there. Like I guess he was just a stud he's like a cool guy and there's a sexy singer lady and he went home with her. But also I was like, maybe it's like a brothel where you kind of like chat up the performers who knows what the future is. 

Like, I guess, you know, in civilization, you know, it'd be like a and civilization. It'd be like a singer at a nightclub and she meets a handsome cop and he's trying and they, you know, get, you know, they, they, they hit it off. But I guess in the lawless apocalypse, it'd be like a, be like a, a brothel, I guess CS this guy, I guess he's trying to prove himself to the toe cutter. 

Yeah, I dunno. I don't what's going on with this guy? I don't know why he's lighting hairs on his arm on fire like that. I don't know. There's kinda try to show that he's like a weirdo or something. A beautiful shot here. These long flat roads. The desert. I, yeah. I don't know how you could have gotten that shot and not be hit by a motorcycle. I'll look at this. Look at that. Yeah. I don't even like cars that much, man. 

But look at this look, look how close this Marshall I got was like, it looks like it's within inches just than inches of the camera. That's so crazy. I mean, there are a couple of shots in here. Yeah. Like this. How do you do that? You're holding a camera on a moving f*****g motorcycle while it's speeding at super high speeds. And it's a film camera. It's a f*****g film camera on a moving motorcycle in the middle of the desert. I don't know how the f**k they did that. I mean, maybe they built like a little replica, a front and a motorcycle. This is a very low budget movie. 

And I kinda suspect that they just had some wild man f*****g ride on a motorcycle, carrying the camera, which is f*****g crazy. Just crazy again. Yeah. How do you get that shot? How do you do that? I don't know. I'm a very impressive fall. And this is weird. Cause it's sorta like his, his downfall happens twice. 

It's weird. Like, you know, so they sabotage his motorcycle and he's in his crash, but he just like knocked around a little bit. He lands in the marshes, so soft landing and stuff. So he's doing like, yeah, it could be worse. Like he's not too injured. I think that guy, yeah. He'll say something like not a lot of road rash, but it's weird because like, you'll see what happens later. I don't know. I hope that you've watched this movie before. If you're doing, if you're and not wasting it on my voiceover commentary, but it's a great shot. 

It's very like John Wayne. Yeah. Like this guy when bicycle helmet looks like a nerd, don't write off the goose until you see the Fox going into the hole. I don't know. Interesting. Very interesting. He looks like the singer for f*****g angel has a centerfold. Peter, what's his name? 

Nah, nah, look at that truck. And he leaves the guy with the bicycle, but there's another seat in that truck. I started singing some song. It sounds very Australian. I guess there's no radio in the car. Maybe no radios at all. Maybe, maybe that's something that's already stopped. But I feel like got something that gets sung a lot in Australia and everybody knows it. 

So yeah. So here's where he has his second crash. Oh this is great. This is amazing. Boom, great car crash. Really amazing. So, so yeah. So you got, so you see goose crash his car twice quickly in quick succession. I know, sort of like a fake out or they really want to emphasize it. 

I don't know. It's just interesting. And there's Gleb off there's toe cutter and I don't know if that's a cigarette or a joint and again, I don't know what, they're what they're trying to prove with this with Jelaby off right here. I don't know, like what's his deal? China intimidate him or you know, make him like be there b***h or something. 

I don't know what the deal is. I guess it's a hand rolled cigarette. Not a joint be cooler if it was a joint, I guess it's probably a limited amount of marijuana in Australia in the Madmax futurescape a threshold moment for you. I like that another great accident, like is a fly just on his forehead. Makes them look way more psycho. 

And so I, I don't, maybe it's like his trial by fire, like he's joining the gang, the gang or something. I can't yeah. Trying to make him not be like it's kind of weasel guy or something. I dunno. I dunno the deal is, and then it kinda does it anyway, this guy's so good. He looks like he could like be the bass player of the dam or something. 

Alright. This is vicious. This part st. George's hospital. Well, what's coming up. Look at this Mel Gibson nuggets that really has not done a lot or said anything said very much at all. And this movie, he really hasn't. He hasn't really come to the forefront of the movie yet, which is very interesting. But now, you know, now they need to do a bit of acting. This is it's. This really was a troubling scene for me. I'm just like that. 

Sorta Johnny got his gun totally covered by, Oh God. Yeah. Just a silhouette of him. I was just like, that seemed more terrifying to me than seeing any kind of gory thing. Yeah. I guess George. Yes. George Miller, look at this. Whoa. Then you can just see that. And it's like, doesn't even have fingers, man. So George Miller, he was an emergency room doctor before he became a filmmaker, which is, Oh, and then you're like, are they, are they going to show us his face? And you're like, Oh no, luckily they don't. 

But you see his reaction. Cause it's so like brutal. He's so traumatized. And you got to kill him, I guess. I don't know. So I guess it's how the police force kind of crumbles. I don't know. I don't know if they have any replacements that thing in there. That's not the goose. No way. I'm not really sure. That's supposed to mean if like maybe he's trying just to be in denial about it or he is like, his soul has left his body or something. 

I don't know. I don't know. But you know, it's burned into him. I had a great shot. Yeah. And so then yeah, so he wants to like, she wants him to leave the police force and go someplace else and you know, and which is, you know, probably a good call look at this. Like it's like comfy domestic situation. I'll let like blankets and pretty, you know, the very nice and that looks like, that looks like the Hamptons. 

You know, honestly I got, looks like the Hamptons or like the Cape Cod or something, you know? Yeah. It's like a pleasant beach community. Look at that Wicker Wicker couch, man. No Gibson. Yeah. One thing, peanut butter and honey, one thing that's interesting about Mel Gibson and him being in this movie and starring in it. 

So you see these other actors. So they're all like, I'm a lot more like theatrical and performative, but he really, he really, really is very reserved through most of the movie. And so he seems he comes out better. He comes like, he seems like a better actor because of it. I don't think at Mel Gibson is that good of an actor in it? Like he's actually kind of corny. 

And like he, he thinks he's a much better physical actor than he really is. And maybe watch the lethal weapon movies. There's always a scene where he like dislodges his shoulder and has to knock it back into the right place. I dunno, for some reason, you know, and like I watched, Gullapalli recently look at this, this guy and his shirt with no shirt on watering his plant, no shirt, but his scarf again, this is just, this guy looks so amazing. 

Watering his plant and is a wooden bird cage. But doesn't look like there's a bird in there. That'd be funny again, it looks like an anime. I dunno. Like he could be like the captain of robo tech son nod max quits, the police force. Which again, I mean, that seems about, you know, that seems about right. That seems like the right thing to do. 

You're a winter max you're on the top shelf. I asked this guy who was trying to, trying to stand up the war to the end of history and say, stop to f**k, f**k Buckley. But anyway, so this guy is trying to hold back order. I don't think he realize how Russ, how few tile that'll be. 

I saw he really looks like he's at like studio 54 or something, you know, it's so funny. Alright. So mad max is scared, but, but so like also, I don't know if like this is at the guy's apartment or his office, or maybe both. You don't get a lot of information about the police force other than, you know, you know, it's generally crumbling, but you know, I it's enough. You don't need more, they don't give you a lot of information about the world and you kind of fill it in with your, you fill in the information, which is good, you know? 

And also, so that way, when, when you get the more intense world-building of the later movies, it all kind of holds together in a surprising surprisingly well, but also there, I don't, they're not like they're not really hard. There's not a lot of emphasis on continuity with the mad max series, which is really nice. Like kind of like the first two, this one and road warrior kind of, kind of like very sequaly and you can argue that like beyond Thunderdome is, you know, kind of like that, but it's more like, like you don't need to have seen this movie, you understand the road warrior at all. 

Like I've, I've, I've seen the road warrior dozens of times. I'd never seen this movie until today. This is such a weird shot. This whole sequence is weird. Like they just go off this little, like vacationy thing, they got a cute dog and skies in a dumb Sherlock Holmes hat, British petroleum in the background. I don't know if that's intentional, but that shows how much oil, you know, they can't escape it. The kind of skip the crushing of modernity and need on you have this like youthful car culture, embrace of car culture. 

Why, you know, with art on the side of the car. Yeah. And so now, well I guess he quits and then he just goes off to the countryside and it's going to be with his wife. And I don't know what the plan is for them here beyond that. This is where the bottom drops out of the movie for a little while. Cause you know, she's not super interesting and she's not a real great actress and.