![]() ![]() ![]() But it is unquestionably a fascinating way to re-evaluate the greatest action film of the new millennium. I suspect you’ll be hard-pressed to find somebody who agrees with him, given the rousing burnt orange look of the original. The director has spoken about how he has always wanted to release a Mad Max movie in black and white, and considers this the best version. ‘It feels like the film itself has become nostalgic for the film itself.’ Photograph: Jasin Boland/Warner Bros. I was one of many Mad Max super-fans who, over the weekend, returned to see Fury Road on the big screen – this time in a rejigged colour-drained Black & Chrome edition that is out now on DVD and Blu-ray in a special two-disc set (which includes the original version). And by George (Miller, as the case may be), such re-stylisation throws a spanner in works when it comes to contemplating how a film’s visual tone informs overall psychological impact. Especially in the rare instance of a production that was originally in colour. Nobody can say precisely what effect monochrome photography has on petite perceptions the extent to which it makes certain things even harder to notice. ![]() You can’t see it on screen but, again, it’s there and in some way makes a difference. Fewer still would know an illustration of a bird was carved on to the handle of her gun, a stainless steel Winchester rifle. And thus the perfect sandbox for Leibnizian alternate worlds etched out in small details.įew viewers of Mad Max: Fury Road would be aware, for instance, that there is a subtle bird theme running through the design and makeup of The Valkyrie, a Warrior Woman-esque character played by Megan Gale. The dystopian Mad Max universe, with its visions of a junkyard future comprised of the flotsam and jetsam of human civilisation, is full of recycled commodities: what the director calls “found objects repurposed”. George Miller relishes this sort of approach to film-making. ![]()
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