| Mad Max Beyond Thunderdome | |
| Producer: | George Miller |
| Music: | Maurice Jarre |
| Cinematography: | Dean Semler |
| Editing: | Richard Francis-Bruce |
| Studio: | Kennedy Miller Productions |
| Distributor: | Roadshow Film Distributors |
| Runtime: | 107 minutes[1] |
| Country: | Australia |
| Language: | English |
| Budget: | $10 million[2] |
| Gross: | $36 million (rentals) |
Mad Max Beyond Thunderdome, commonly known as Mad Max 3, is a 1985 Australian post-apocalyptic dystopian action film directed by George Miller and George Ogilvie and written by Terry Hayes and Miller.[3] It is the third installment in the Mad Max franchise. The film stars Mel Gibson and Tina Turner, and follows a lone roving warrior who is exiled into the desert. It was Gibson's last performance as "Mad Max" Rockatansky .
Mad Max Beyond Thunderdome was released in Australia on 10 July 1985. The film received generally positive reviews from critics. A fourth film, , was released in 2015, starring Tom Hardy as Max.
The world is a post-apocalyptic wasteland caused by ecocide and a nuclear war over resources.[4] In Mainland Australia, Max Rockatansky crosses the desert in a motor vehicle. The airborne bandit Jedediah and his young son attack him and steal his vehicle. Max follows Jedediah's trail to a trading post called "Bartertown". Initially refused entry because he has nothing to trade, he impresses the local officials with his toughness, and the founder and ruler of the town, Aunty Entity, offers to resupply him if he completes a task.
Bartertown's energy comes from "Underworld," a subterranean refinery that turns pig feces into methane. The refinery is run by Master, a dwarf who rides around on Blaster, his giant bodyguard. "Master Blaster" has begun to challenge Aunty for control of Bartertown; Aunty wants Max to kill Blaster so she can subvert Master to her will.
Max infiltrates Underworld to size up Master Blaster and befriends Pig Killer, a convict sentenced to work there for slaughtering a pig to feed his children. When Master Blaster learns his newly-acquired vehicle belonged to Max, he forces Max to disarm its booby-trap. In doing so, Max sets off his alarm and discovers that Blaster is hypersensitive to high-pitched noises.
By law, conflicts in Bartertown are resolved by a fight to the death in Thunderdome, a gladiatorial arena. Max publicly accuses Master of stealing his vehicle, and a battle is scheduled against Blaster. Blaster dominates until Max blows a whistle, which makes Blaster grab his head in pain. Max knocks Blaster's helmet off and prepares to kill him, but relents upon seeing that Blaster has an intellectual disability. Max reveals Aunty's plot and Master threatens to shut down the refinery, so Aunty has Blaster killed. She is then able to terrorize Master into keeping the refinery running.
For breaking a deal, Max is bound, placed on a horse, and sent into the Wasteland, his punishment determined by the spin of a wheel. When the horse collapses from exhaustion, Max frees himself and continues on foot until he also collapses.
Warrior girl Savannah Nix finds Max near death and hauls him. Her home, "Planet Erf," is an oasis populated by a primitive tribe of teenagers and children. The children are descended from survivors of a crashed Qantas Boeing 747, some of whom left to seek help and never returned. They believe Max is the pilot, "Captain Walker", come to fix the aeroplane and fly them to the fabled "Tomorrow-morrow Land". Max denies he is Walker and insists there is no longer any civilisation like that in their stories. Disillusioned, some teenagers and children led by Savannah want to attempt the journey to Bartertown, but Max stops them and has them tied up, saying everyone should go on living in the oasis.
During the night, the separatists escape. Max agrees to bring them back, taking some members of the tribe along. However, both parties are in bad shape by the time he catches up. Out of supplies, Max is forced to lead the contingent back to Bartertown.
The combined group sneaks into Underworld and, with Pig Killer's help, frees Master and escapes in a modified truck down train tracks, destroying the refinery and most of Bartertown in the process. Aunty orders her forces to pursue and retrieve Master. Max and his group do their best to fight off the attackers. They come across Jedediah and his son, whom Max coerces into providing a ride in their aeroplane. With the approach of Aunty's army shortening the runway, Max gets in his vehicle, which a child stole from their pursuers, and crashes it to create an opening so the plane can take off. Injured and alone, Max is spared by an impressed Aunty, who leaves to rebuild Bartertown.
Jedediah flies Master, Pig Killer, and the separatists to the ruins of Sydney. Years later, they have established a community with other wanderers. While they attempt to rediscover the knowledge of the pre-apocalyptic world, each night Savannah recites the story of their journey, and they light up the city as a beacon for Max or any other travellers to follow. Meanwhile, Max wanders in the Wasteland, alone.
Beyond Thunderdome was the first Mad Max film made without producer Byron Kennedy, who had been killed in a helicopter crash in 1983.[7] Director George Miller was hesitant to continue without his producing partner, saying later: "I was reluctant to go ahead. And then there was a sort of need to – let's do something just to get over the shock and grief of all of that."[8] There is a title card at the end of film before the credits roll that reads: "...for Byron".[9]
Miller co-directed the film with George Ogilvie, with whom he had worked on the 1983 television miniseries The Dismissal. About this decision, he said: "I had a lot on my plate. I asked my friend George Ogilvie, who was working on the mini-series, 'Could you come and help me?' But I don't remember the experience because I was doing it to just... You know, I was grieving."[10] For the film, Miller and Ogilvie employed a group workshopping rehearsal technique that they had developed.[11]
Exterior location filming took place primarily in the mining town of Coober Pedy, though the set for Bartertown was built at an old brickworks (the Brickpit) at Homebush Bay in Sydney's western suburbs, and the children's camp was in the Blue Mountains.[11] [12] According to cinematographer Dean Semler, "Mad Max Beyond Thunderdome proved far more challenging than Mad Max 2. We were dealing with more varied environments than before and it was essential that each of the worlds created for the film have a distinctly different look."[13]
See main article: Mad Max Beyond Thunderdome (soundtrack). The musical score for Beyond Thunderdome was composed by Maurice Jarre, replacing Brian May, who composed the music for the first two films in the series.[14] The film also contains two songs performed by Tina Turner: "One of the Living", which plays over the opening titles, and "We Don't Need Another Hero (Thunderdome)", which plays over the end credits.[15] [16]
"We Don't Need Another Hero (Thunderdome)" reached #1 in Canada, #2 in the US, and #3 on the British single charts. "One of the Living" was rerecorded for single release, and it reached #15 in both Canada and the US, but only #55 in Britain. At the 28th Annual Grammy Awards, "One of the Living" won the award for Best Female Rock Vocal Performance.
A soundtrack album was released by Capitol Records in 1985. It included Turner's songs alongside an instrumental version of "We Don't Need Another Hero (Thunderdome)" on Side 1, and some of Jarre's music on Side 2. A double CD containing only Jarre's original music was issued in 2010 on Tadlow Music/Silva Screen Records.[17]
Although the film's budget was larger than that of its predecessors, its box office yield was only moderate in comparison.[11] It grossed A$4,272,802 at the Australian box office,[18] less than what Mad Max made and less than half of what Mad Max 2 made.
In the United States and Canada, the film grossed $36 million,[19] generating theatrical rentals of $18 million. Outside of the U.S. (including Australia), it earned a similar amount, giving it worldwide rentals of $36 million.[20]
Reaction to the film was generally positive.
Critics disagreed over whether they considered the film to be the highest or lowest point of the Mad Max trilogy. Most of the negative criticism focused on the children in the second half of the film, whom many found too similar to the Lost Boys from the story of Peter Pan.[21] Robert C. Cumbow of Slant Magazine identified "whole ideas, themes and characterizations" adopted from Riddley Walker, a 1980 post-apocalyptic novel by Russell Hoban.[22]
On the other hand, there was much praise for the scene in the Thunderdome, which Roger Ebert of the Chicago Sun-Times called "the first really original movie idea about how to stage a fight since we got the first karate movies" and "one of the great creative action scenes in the movies".[23] Ebert awarded the film four out of four stars and later placed it on his list of the ten best films of 1985.[24] Variety wrote that the film "opens strong" and has good acting from Gibson, Turner, and the children.[25]
Some fans of the series have criticised the film for being "Hollywood-ized" and having a lighter tone than its predecessors.[26] [27] [28]
| Year | Association | Category | Nominated work | Result | class=unsortable | |
|---|---|---|---|---|---|---|
| "We Don't Need Another Hero" | [29] | |||||
| "One of the Living" | [30] | |||||
| 1986 | [31] | |||||
| 1986 | [32] | |||||
See main article: Legacy and influence of Mad Max in popular culture. As with the previous installments of the Mad Max series, Beyond Thunderdome has influenced popular culture in numerous ways. Of particular note is the widespread use of the term "thunderdome" to describe a contest in which the loser suffers a great hardship.[33]
American filmmaker Chris Weitz has cited the film as an influence.[34]