“Furios”-the prequel of “Mad Max” with Anya Taylor-Joy as a one-handed warrior

George Miller again offers two hours of post -apocalyptic attractions with chases and shootings

At the 77th Cannes Film Festival, the premiere of the film “Furios: the Chronicles of the Mad Max” was preceded by the previous film by George Miller “Mad Max: Road Road”. The picture tells about the childhood and youth of the warrior Furiosa, who was played in the picture of 2015 by Charlize Theron. In the new film, her role was played by Anya Taylor-Joy (“The Queen’s Stow”, “Dune-2”). Film critic Anton Dolin talks about the premiere, which they have been waiting for a long time.

Surely you saw the Furios trailer, even if you were not going to watch it. Typically, commercials deceive the viewer, not talking or promising too much. In this case, you can have no doubt: you will get two and a half hours of exactly the same sight, the demo version of which was shown to you in two and a half minutes. For some, this prospect is tempting, but hardly for everyone.

The main and unsolvable problem of Furios is inevitable comparisons with the previous film from the same universe. “Mad Max: The Road of Fury” of the Living Classic Australian Augin-Kino George Miller came nine years ago. The premiere also took place in Cannes: the author’s cinema festival recognizes Miller for equal and even once entrusted him with the jury to lead him. The militant with Tom Hardy was a fourth part and at the same time rebooting the franchise, which had been drawn already from 1979 (then young Mel Gibson played the title role), but critics fell in love with it as an independent work , separate from the rest of the cycle. At least twice, according to the polls of the Empire magazine and the Rotten Tomatoes aggregator website, the Rage Road was recognized as the best film of the 21st century, to all geniuses-intellectuals spite.

Did Miller succeeded-invariably vigor, but still 79-year-old-to jump this time above the head? It seems not. It's not about the budget, actors or technology, but in the spirit of the film. The “Rage Road” struck the audience with uncontrollable kinetic energy, an overdose of adrenaline, which Hollywood was not enough for that time. It was an unexpected and desperate gesture, born in the author’s love for his hero.

Furios is more like a calculating sequel made taking into account the success of the previous picture and feminist trends. The beloved heroine of the new generation of spectators, one -handed “Empress Furios”, played Charlize Theron in the “Road of Fury”; In the prequel, Anya Taylor-Joy , which came into fashion, played the role (her first full-fledged work in a blockbuster of this scale). This is executed with care and attention to the details - almost unthinkable for today's studio cinema - but without the former desperate inspiration.

Briefly introduce the essence of the events of those who have not seen or forgot the previous films, but intends to watch this. Far (or already close, difficult to figure out) the future, the world of a deserted desert after the end of the world. Clans of merciless militants on motorcycles and other wheeled vehicles fight for land, power and a few remaining resources. The most valuable of them are food, water and, of course, fuel.

In the serene oasis, where the strict amazon warriors installed matriarchy, a girl named Furios lives. The first frames show how she - without mythology, is nowhere to tear the peach, apparently forbidden fruit. The menacing appearance of a man on stories abduct her. For what? It is not quite clear: after all, their main goal is to tell his leader, cruel charismatics Dementus (Chris Hemsworth with a converted nose is unrecognizable, but magnificent) about the whereabouts of the promised land, where there are many beautiful women, water and food. Just the kidnapping of a fighting child threatens the mission, because her formidable mother with a gun sets off for the girl. Dementus will not find roads to those blessed lands. But he will put Furios in a cage and will appoint his heiress without demand.

Subsequently, this is known from the “Road of Yarost”-Furios will grow, train, become a skilled warrior and driver, entering the service of an even more terrible military leader-a deadly tyrant of a terrible Joe, whose face is hidden behind a cherry-shaped mask. He rules in the citadel, which he intended to capture Dementus with his gang. But the army of Joe is better than the free bikers of Dementus. It will have to be captured by another fortress - a gas station, the main source of fuel in the wastelands. Now he will trade with the citadel until the fragile world comes to an end. It was then that grown Furios and will take to take revenge for everything experienced.

If you find this plot slightly template, you will be absolutely right. Miller’s story worries the least: the more rudimentary, the better. Moreover, he already showed catharsis and the return of Furios home in the previous picture. Detecting his new epic into the chapter-Pesny (there are five of them in a certain film), it includes at least one spectacular pursuit, whose choreography is much more passionate than spelled out in the tablets and the obviously known fate of the heroine. Yes, in the course of events, it must lose her hand and replace it with a mechanical limb, but this passes almost unnoticed for the viewer. Moreover, even under the torture of Furios prefers to be silent.

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Either with a laugh, then with the condemnation of the press, the news discusses that all the replicas of the main character met thirty lines (the crazy Max performed by Tom Hardy in the previous film had twice as many). This is explained quite simply: Miller decided to return his attraction to the cinema, which the conversations only interfere. The prettier the director of the character, the less often he opens his mouth. To the finale, I only want to regret that Furios’s replicas have not yet been reduced by half. Her final explanation with the villain sounds, to put it mildly, embarrassed, as if producers insisted on him, and Miller, out of a sense of protest, entrusted these pages of the script of artificial intelligence.

The best that is in Furios is not barren attempts to discuss issues of revenge, morality or a bright future of mankind, but charming details. A blood sausage of human and a plush bear cub is stuck in the memory-the favorite talisman of Dementus, the caste-no-pistol of Furiosa, tattoos on the face and body of an encyclopedist of a humanist, a golden nose and sticking out of special slots in an unexpected three-tint of a nesting adviser to a non-commercial Joe.

A sunsid voice begins to explain to the audience why humanity cannot live without wars, and immediately think about how artificially and not scary the “forty -day warfare war” against the backdrop of what the world is actually experiencing. When Furios is pompusively proclaimed the “darkest of the angels” and “fifth horseman of the Apocalypse”, Miller’s picture finally switches to the territory of Category V. films is touching in his own way, but leads Furios to a different league than the same “dune”, comparisons with which are inevitable: again the distant future of mankind, everyday life. Men and strong women looming on the horizon Anya Taylor-Joy.

However, high expectations are the problem of expectant, and there is more a draw. George Miller had undoubtedly shot a unique and virtuoso film. In his Universe, Furios is only a little more moral and noble than the other warriors, but without it the landscape of the future would be completely hopeless. The same can be said about Furios, pleasantly diversifying and reviving the dull landscape of modern commercial franchises.

Anton Dolin