![]() Master saw himself as the true leader of Bartertown (even forcing Aunty Entity to admit it over loudspeaker) and as such imposed "embargoes" (that would eventually lead to his downfall) that would cut off Bartertown from the power he produced. The name "Master Blaster" was Terry Hayes' idea. Their symbiosis was essential to their survival and that is why they formed a unit. That is why Blaster was envisioned as physically very powerful but mentally weak whereas Master was the polar opposite. According to him, some people would have sufficient overall skills to make it through whereas others would only have partial skills needed to survive. ![]() This idea was later refined by Miller's curiosity on how different people would have survived the apocalypse. DealgoodEdwin Hodgeman Mr.The very first notion for Master Blaster came from Miller's idea about a really tiny man who can barely move on top a giant, like a sparrow on the back of a rhinoceros. Mad MaxMel Gibson Aunty EntityTina Turner Savannah NixHelen Buday The CollectorFrank Thring JedediahBruce Spence PigkillerRobert Grubb The MasterAngelo Rossitto IronbarAngry Anderson BlackfingerGeorge Spartels Dr. At the Warner Twin, Broadway and 47th Street Beekman, 65th Street and Second Avenue Loew's 84th Street Six, at Broadway Murray Hill, 34th Street and Third Avenue, and other theaters. Miller music by Maurice Jarre edited by Richard Francis-Bruce director of photography, Dean Semler released by Warner Bros. The Cast MAD MAX BEYOND THUNDERDOME, directed by George Miller and George Ogilvie written by Terry Hayes and Mr. It contains no sex, some violence, and an extraordinary number of menacing-looking creatures. ''Mad Max Beyond Thunderdome'' is rated PG-13 (''special parental guidance for those younger than 13''). Here, for once, is a chainsaw that doesn't work. Max's habit of arming himself to the teeth also becomes the basis for a gag or two, particularly in his Thunderdome confrontation. And Frank Thring brings a Hitchcock-like drollness to the role of Miss Turner's chief henchman. When Max is due to be sentenced by the rulers of Bartertown, for instance, his fate is determined by the kind of wheel usually found on game shows. The added element of humor in ''Mad Max Beyond Thunderdome'' is uneven but largely welcome. Miller's peculiar brand of brazenness colors every aspect of his grim, futuristic vision, which is one more reason to hope the Mad Max story never takes any further sentimental turns. ![]() There's a lot more to this than the bizarre outfits and vehicles with which the film is preoccupied (in the final chase, which rivals the now-famous one in ''The Road Warrior,'' Max drives a sports car covered with palomino hide). Miller's earlier films, lies in the fanciful nastiness of the costume and production design, and in the go-for-broke desperation that informs everyone on the screen. And the film's penchant for oral history, delivered in an odd Australian argot, is its weakest ingredient. Later on, when the film takes Max into the wilds of Australia for his encounter with the tribe of children, the story loses much of its momentum. Miller, who co-wrote the screenplay with Terry Hayes, of lacking imagination. So it's a good thing that the opening credits identify such figures as Scrooloose, Dr. This bit of chronology will be elusive to all but the keenest Mad Max fans, as will the names of most of the characters. As played by Mel Gibson, with the stately world-weariness that has made him irresistible, Max now seems even more recklessly nihilistic than he did in ''The Road Warrior,'' which supposedly took place considerably earlier. ''He's bad, he's beautiful, he's crazy!'' another character says of Max, and that's as good a description as any. It also has Tina Turner, in chain-mail stockings. This film has showier stunts than its predecessors, and a better sense of humor. Miller, who directed ''Mad Max'' and ''The Road Warrior'' alone, this time co-directed with George Ogilvie.) So if it eventually steers Max into the midst of a tribe of primitive children who regard him as their savior, it can easily be forgiven. ''Mad Max Beyond Thunderdome,'' which opens today at the RKO Warner Twin and other theaters, is the most visually spectacular installment by far, with a few innovations -notably the one of the title - that are far more elaborate than anything George Miller, the director, has attempted before. For the fourth - and on the basis of this one, there will and should be another - he appears to have messianic, civilization-founding responsibilities in his future. So watch out as Mad Max, the hero of George Miller's post-nuclear fantasy films, assumes greater and greater mythic dimensions in the third film in the series. Apocalyptic fiction generally has an easier time destroying the world than putting it back together.
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