I’m fairly certain Miller has always looked at this in a very large picture sense, kinda like Dune from Herbert. If you take the body of the these Aussie post-apocalyptic films as a societal tale, then you have a very slow moving progression and not just some action flicks tied together.
Stone sets the stage for a society that is imploding upon itself by greed, inability to change, and children who need to kill their fathers as a rite of passage but clings too hard to the old ways. That clinging is brought back up in every single one of his films too. This is why I’m fairly certain Stone sets that stage and he plays upon it.
MM falls apart because they’re using old laws to govern a new form of human society and the hero is stripped of everything he holds dear because he tried to uphold those laws in spite of everything.
In MM-RW, they’re clinging to the old form of power still (gas) and again, Max only is victorious when he is the harbinger to destroy that dependence. We’re more or less told that’s the last bastion of gas production. Without him, Humongous would have taken the refinery and become a king.
In MM and BT, both the Kids cling to the old ways as well as Bartertown. The Kids cling to the HighScrapers and the Rivers of Light. Bartertown exists because they crave capitalism. Max destroys them both. And in Fury Road, he finally kills the father and puts to rest that old world. More on that…
Hugh is in all three flicks representational of the Father but he’s also fully aware of Death waiting for him. It’s evident in the script, the actions, and the costumes (in Miller’s pieces). That also puzzles me as to how it’s missed. He didn’t have to use this guy again, but here he is and really in FR he’s passed into a mythical realm already.
Fury Road… Miller had choices here. BIG ones. He had money and backing, so he had free reign on this. And this is the one thing that I am shocked no one picks up on. Look over Homer’s Odyssey… It’s more or less the story of FR. The River of Lethe, Charybdis, the Sirens, etc., etc., etc. Max has passed into the stuff of mythos now.
My proof that this is no longer a reality or part of the world Max was from… the steering columns on the cars and trucks – they are on the left side, the US side. Not Oz, hell not even any former Brit colony. That was a very, very conscious choice. He started production in Oz. They built most of the cars in Oz. Yet why the left side drive? They actually had to import those vehicles to produce that. Far greater expense and load on the production. This, to me, is a keystone or a cypher that he’s used to give us a clue.
Trust me I don’t really give a shit about uncovering most film or books. I’m really ok with face value since that’s usually how it’s to be viewed/read. But it struck me in the theatre how much like the Odyssey FR was. Then, about a month later, I was welding and replaying the flick in my head, the steering columns really hit me hard.
Miller’s story boards for FR some 20+yrs ago… I think they are now pretty much EXACTLY like the film. He’s calculating and deeply committed to the story – this is not a man out to make a fortune on an action flick. This is a man creating a classic piece of art that just happens to be couched in the guise of an action flick. He’s not without irony, appealing to a base form of entertainment to tell us a deeply insightful tale of humans – pretty much just like Homer. I may be totally off base and batshit crazy, but I kinda think I’m close to the bone on this one. I’d imagine when Homer sat in a rotunda and made a couple of bucks reciting his next installment for Friday night entertainment, it wasn’t seen as a classic to them. It was just good adventure and fun.