The fight over the new Mad Max is about more than sand-box rage.
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Mythology, by default, cuts deep, and in our present world which careens between pure materialism and unquestionable dogma, it can trigger passionate response before the responders even know what they’re really responding to. Consider John Lennon’s “We’re bigger than Jesus now” controversy in the mid-sixties. Traditionalists all over America (but mostly in the “Bible Belt”) were apoplectic when they heard this, and lashed out with more than counter-arguments. They burned Beatle books, magazines, photos, and records in public, a violent enough way to say “don’t experience this,” but they even added physical threats, of which the Beatles received many.
But what, really, were they so upset about? It wasn’t against American law to say such a thing, and, if the Beatles were merely pop stars cresting a fad, such a “passionate” response would seem excessive. Now, looking back on that time, we can see that those disturbed by Lennon’s “blasphemy” were actually intuiting something quite profound, even if they themselves didn’t understand what they were getting so contorted over.
They were angry because they were witnessing an earthquake they were psychologically unprepared to accept: that the media stars of the present were fulfilling for youth every emotional function that had been previously reserved for the written gods of antiquity.
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They were angry because they were witnessing an earthquake they were psychologically unprepared to accept: that the media stars of the present were fulfilling for youth every emotional function that had been previously reserved for the written gods of antiquity. This is just another way of saying they were pissed off because they sensed Lennon was right: that “old time” religion was growing feeble, and that new heroes, their stories communicated by new methods, might freely speak the language of change to a vast audience. And—horrors!—what if these new stories might give the same sense of belonging, inner peace, even the keys to growth, that the old ones offered. And with more attractive haircuts. Lennon was just quoting demographic trivia. The old guard was alerted to their waning monopoly.
The Beatles were clearly a mythic phenomenon, they just happened to emerge from an area—popular music—that was not yet associated with such import. But myth is extraordinarily mercurial, it thrives wherever it may. The arts, which have always been the most welcome sanctuary for symbol and philosophy anyway, will continue to communicate mythic themes and narratives, whether we recognize them as such or not.
Mad Max: Fury Road is a film that communicates deep mythology just under the surface of its exhilarating action. My review for The Good Men Project explores some of the archetypal themes in this visceral film, which centers on a female hero and her quest to vanquish those who would horde the life-giving resources of a dying planet. In the only Mad Max movie in which Max is largely along for the ride (and furious about it), the focus on the divine feminine is not only deeply moving and prescient, it loses not a bit of momentum from the earlier installments. Her anger is apropos to the crisis at hand and is a commercially fresh but equally rousing contrast to Max’s scrappy rage.
But, perhaps not surprisingly, some “pro-masculinity” men’s groups have gotten their boxers in a bunch over Fury Road. Seems they don’t want to get any estrogen on this testosterone-fueled franchise. Though I hesitate to pour any more viral gasoline on that particular fire, I will comment on a couple of the more wooly-brained statements by Aaron Clarey, a vlogger whose article “Why You Should Not See Mad Max Fury Road” sparked a whiney blubber of controversy resulting in coverage by numerous major news outlets.
Alas, I was forced to accept reality. Fury Road was not going to be a movie made for men.
I would suggest that Fury Road is precisely right for a male culture already fearing its loss of control. It’s as potent a drink for men as any of the Mad Max movies.
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Really? I would suggest that Fury Road is precisely right for a male culture already fearing its loss of control. It’s as potent a drink for men as any of the Mad Max movies. Not only does pluck and single-minded drive overcome incredible odds, but—surprise—we have allies. Is it anti-male for these allies to exert their own heroism, to defend the very thing that allows us to live? Fuel is necessary for power. But water is necessary for life. Ultimately, we need both, right? Women already get it. They already are it. And so our most valiant efforts are often misspent until we recognize the heroism of our partner.
“The real issue is not whether feminism has infiltrated and co-opted Hollywood, ruining nearly every potentially-good action flick with a forced female character or an unnecessary romance sub-plot to eek out that extra 3 million in female attendees.”
Hello? Mr. Potato Head? This is one of the main reasons why Fury Road is such an innovative and important film. First, there is no romance. A brief glance, maybe, to suggest unrealized possibility. But it’s pretty much all business here, folks. Finally, we get a gritty blockbuster that doesn’t feature a weak female lead that is only there to support the glory of her man. According to your statement, this is something you yourself seem to be tiring of. What do you suggest mean old Hollywood do, restrict women from speaking roles, or maybe just ban them from movies altogether? Well, they actually already have those kinds of movies. They’re in a “special” section at your local video store. Perhaps this is what you are looking for?
You whiners think you’re lamenting the feminization of action films, but down deep you’re resisting the timeless mythic inclusion, and sometimes exaltation, of the powerful, protective female.
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It’s inescapable that the visual and literary arts have always been awash in mythic themes, sometimes overtly. It is common knowledge that George Lucas wrote Star Wars with Joseph Campbell’s “Hero’s Journey” story-arc as his blueprint. That this is the most successful movie franchise in history should bring pause to anyone thinking that mythology or—let’s just say it—religion could be constricted to only the dusty halls of our temples. Myth is always at the ready, and given its close link to story-telling, it is no surprise that it thrives on our big screen.
You whiners think you’re lamenting the feminization of action films, but down deep you’re resisting the timeless mythic inclusion, and sometimes exaltation, of the powerful, protective female. And even if the myth being communicated doesn’t rev your engine, you might try to learn from it anyway. I, for one, think Mad Max: Fury Road has much to say, and we certainly have much to hear.
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Images by Warner Bros. Pictures
You “whiners”? You sound like an advocate of the man-box that this website is supposed to be against.
BTW, TheMarySue- one of the first publications to talk about this boycott tripe- has gone on record saying they’re boycotting Game of Thrones now.
But, you know, when they do it…
“But, perhaps not surprisingly, some “pro-masculinity” men’s groups have gotten their boxers in a bunch over Fury Road.”
ONE article by ONE dude on ONE blog. And nobody takes ROK seriously. This would be like taking the tumblr rant of some 19 year old frosh straight from her first Gender Studies class as “current feminist thought”