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A teenage Furiosa (Anya Taylor-Joy) must overcome several obstacles to return home when Warlord Dementus (Chris Hemsworth) and his motorcycle gang kidnap her from the Green Place of Many Mothers.

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furiosa a mad max saga full movie

Rarely has a future looked and felt so exciting as it does in George Miller’s “Mad Max” books. Miller has been shocking people for decades with his crazy views of a violent, destroyed world that looks a lot like ours, making people shiver with fear. Still, his other life may seem so familiar, and making movies gives him such a strong sensory high that it’s always been easy to just enjoy the show. Is this the end of the world? Nice!

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Over the years since the first “Mad Max” movie came out in 1979, the difference between Miller’s burned earth and ours has shrunk, making it seem less cool. In the first movie, which takes place “a few years from now,” Mel Gibson plays Max Rockatansky, a Highway Patrol cop with a wife and kid. His life is pretty normal. The first picture of a sign for the Hall of Justice that looks like the door to Auschwitz and says “Work Sets You Free” makes it clear that Max’s life is about to get very bad. If you connected it with it, you may have winced, but your worries were quickly overwhelmed by the following chases and crashes, the screaming motors, and the wild laughter.

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While “Mad Max: Fury Road” starred Charlize Theron as Furiosa, “Furiosa: A Mad Max Saga,” Miller’s fifth and most recent movie in the series, is mostly an origin story that shows how Furiosa (Anya Taylor-Joy) came to be and how hard her life was. “Fury Road,” one of the best movies of the last ten years, is both the best work Miller has ever done and a big change from his earlier movies in terms of plot and tone. While Tom Hardy has taken over Gibson’s role as Max, Furiosa, her journey, and her hopes are what really make “Fury” moving and dramatic.

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There Were Many Detours Along the Tough Road to “Furiosa”. An tiring production was made for George Miller, Anya Taylor-Joy, and their team by a string of environmental disasters. May 16, 2024 “Furiosa” follows Furiosa from childhood to early adulthood, following her backward trip from freedom to imprisonment and finally limited power, as befits a creation story. The film starts with 10-year-old Furiosa (Alyla Browne) going on a forest hunt near the Green Place of Many Mothers, a paradisiacal outpost. A group of dirty-minded, snaggletoothed bikers stop her peaceful life just as she’s reaching for a hilariously, figuratively ripe peach. Soon, Furiosa is strapped to one of their motorbikes and they are speeding across the desert. Her mother (Charlee Fraser) and another lady are following on horses, setting up the subsequent fight for control and bodies.

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Miller starts switching between close-ups and wide-angle long views, which heightens the stress in the chase as the thieves’ loud noise and activity on their hellish machines contrast with the quiet of the desert. The desert landscape of the scenario evokes earlier “Mad Max” adventures, yet the charging horse and the buttes call to mind the old westerns, which provide this series with part of its mythopoetic power. Max has often given the impression of being a Hollywood gunslinger—or samurai—who was moved into Miller’s crazed mind along with some Joseph Campbell advice. But Miller quickly establishes that Furiosa is no weak child when she starts to chew on her captor’s fuel line.

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When Furiosa is given over to the bikers’ boss, Warlord Dementus (a vamping Chris Hemsworth), a rowdy show-off who leads a group of mostly male travelers, her journey takes an unsettling turn. With a scholar at his side, Dementus rides in a carriage pulled by motorcycles while wearing a sweeping white robe. He’s a stupid character, and Miller and Hemsworth accept this silliness by giving the character a physical look that is just as silly as Dementus’s premise and (prosthetic) nose. It’s difficult to avoid thinking whether Miller took inspiration for the part from the heroic champion played by Charlton Heston as well as the Arab sheikh from the very different desert story in the 1959 classic “Ben-Hur.”

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The way that Miller amplifies the tales that are given down from family to family, tribe to tribe, and culture to culture—those that get ingrained in our thoughts and, whether we know it or not, shape our lives—is one reason why the “Mad Max” films have such effect. Even though Miller creates modern myths, he stays grounded in reality; the plots and battles in his films can uncannily mirror real-life events, and it’s important to remember that he is a doctor as well. (He served as the set medic for a few “Max” flicks.) His past, in my view, adds to the explanation of his fascination with the human body, which is apparent in the showy trick work that has become a defining feature of the program, as well as his joy in showing the workings of machines, ecosystems, and human bodies.

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The focus of this film is mostly on Furiosa’s body, and it takes a different turn when, after a few power battles and busywork, she ends herself in the Citadel—the tightly guarded haven that the main character of “Fury Road” left. She is led there by a group of young, cloistered women known as handmaidens, whose only job is to make food for the Citadel’s master, Immortan Joe (Lachy Hulme).

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Additionally, it is there that Browne’s character Furiosa, still a kid, gets the attention of one of Immortan Joe’s progeny—a huge monster whose plans for her throw the story into a new, terrible pitch. Although Furiosa avoids this creep and Miller wisely doesn’t overdo this part, it still comes as a jolt to the system.