A good three-quarters of the screenplay might read ‘automotive hell breaks out’
– Anya Taylor-Joy has barely any lines. The plot is irrelevant. The mayhem is operaticThe film-makers work hard to make young Browne look and move like Taylor-Joy, who plays the older Furiosa. Photograph: Jasin Boland/PAPurity in art traditionally comes with an austere aesthetic on a restricted budget. Symbolist poets starving in garrets and all that. One could not, however, reasonably deny the clarity of purpose in George Miller’s fifth entry to the Mad Max saga.
This is mostly, but not entirely, a good thing. Without even the tendrils of emotional connection that united the characters in that last episode, Furiosa: A Mad Max Saga sometimes loses itself in repetitive spectacle. It is like watching the greatest circus performer on Earth overstay his welcome and cause the audience to grow blase about the spinning plates, hurtling knives or tamed lions.
The casting is eccentric. The film-makers work hard to make young Browne look and move like Taylor-Joy, who plays the older Furiosa. Taylor-Joy, in the few opportunities offered, captures Charlize Theron’s vocal ticks perfectly, but she could hardly look less like her predecessor in the role. Why bother doing the impersonation if – a perfectly reasonable option – you’re not striving for physical similarity? Still, Taylor-Joy makes the role her own.
That noted, nobody could sit through a minute of Furiosa without being caught up in the shot-to-shot peril. Miller and his team have planned each sequence with a precision that speaks not just of experience but of confidence in a vast surrounding team. There is therefore a sense of inevitability about it all, but it is the inevitability of a skilled ballet. It’s compelling even if you don’t believe in the passengers as humans who eat, sleep and go to the lavatory.
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