They look like the Lost Tribe, except they’re wearing normal black clothes rather than rags or furs. At the end when she says “All the children say” there’s a choir of children beneath her feet.
Mad max beyond thunderdome movie#
Turner’s shirtless saxophone player Tim Cappello ( not Aunty’s movie saxophone player Ton Ton Tattoo, played by Andrew Oh) shows up for the solo. In the first shot we get a good look at Aunty’s silver high heels covered in chain mail.
Directed by Miller, it’s mostly Turner in costume as Aunty Entity, standing on a lighted disc, floating in a black void, hosting a montage of clips from the film. That was September 14th, so Mad Max was on pop culture’s brain for months! On the Billboard charts it peaked at #2 (under the theme from ST. “We Don’t Need Another Hero (Thunderdome)” came out as a single the same week as the movie, and became one of Turner’s biggest hits. Of course, THUNDERDOME has the additional novelty of its A-list music artist co-starring in the movie – her only real acting performance outside of the Acid Queen in TOMMY – and doing a great job. Already this summer we’ve had THE GOONIES with its two Cyndi Lauper songs and BACK TO THE FUTURE with its two Huey Lewis & the News songs. The previous two years had seen FLASHDANCE, SCARFACE, RISKY BUSINESS, FOOTLOOSE, BEVERLY HILLS COP, GHOSTBUSTERS, THE WOMAN IN RED and the peerless PURPLE RAIN. None of the other three MAD MAXes include pop songs, but this was an era when hit soundtracks were highly coveted by studios. Okay, those are frivolous details, but a definitively 1985 touch is the use of movie-specific Tina Turner songs on the opening and closing credits. It’s actually shocking that there’s not any in GOONIES. Quicksand was a major concern of young people in the ‘80s. Surprisingly this is the only Summer of 1985 movie I’ve come to so far that has quicksand in it. There’s a scene where somebody gets knocked into a giant tub of pig shit, which relates to RAPPIN’s crash into a garbage truck and BACK TO THE FUTURE’s crash into a manure truck. We got kids going down an underground slide – not a waterslide, but still kinda GOONIES-esque. Along with the two leads, it depicts The Lost Tribe – primitive kids wearing furs, holding spears, performing primitive rituals and group storytelling, later to swing on ropes and fight a superior army – who certainly have a few things in common with George Lucas’s Ewoks.Īnd there are a few little touches that kind of connect it to trends of the ‘80s. The film’s beautiful one sheet was painted by Richard Amsel, who did both the original and re-release posters of RAIDERS OF THE LOST ARK, and it’s reminiscent of the Drew Struzan collage style we associate with the great blockbusters of the era. Not far away, the feed and grain store has a few words painted over its front entrance – ‘Proprietor: E.T. According to the Mad Max wiki, “on one wall, there’s a picture of a Gremlin. But in the four years between MAXes, Miller had some dalliances with Hollywood, and THUNDERDOME does seem aware of its place in a blockbuster landscape largely shaped by fellow TWILIGHT ZONE: THE MOVIE segment director Steven Spielberg and friends. Cinematographer Dean Semler, co-writer Terry Hayes, art director Graham “Grace” Walker (now production designer) and costume designer Norma Moriceau, among others, returned from THE ROAD WARRIOR. The stunt coordinator is the legendary Australian stuntman Grant Page, who we also know from his parts in THE MAN FROM HONG KONG, DEATH CHEATERS, STUNT ROCK and ROAD GAMES. It’s very much an Australian production, and a continuation of Miller’s previous films.
And yet I don’t even think of THUNDERDOME primarily for it’s action – it’s more like a fantasy film – and in a season that includes RETURN TO OZ and WARRIORS OF THE WIND, it still might be the most imaginative movie of the summer, the most detailed fictional world, the most evocative mythmaking. Though RAMBO: FIRST BLOOD PART II was the action movie causing the biggest stir at the time, it didn’t have anything approaching the inventiveness or filmmaking prowess of the Thunderdome duel or the train-track chase. Like all of George Miller’s work, THUNDERDOME boldly stands out from other films of its era. But I really felt like I needed to revisit it both in the context of the Summer of 1985 movie season, and as a movie to watch in 2020, so that’s what I’ll do in this supplemental review. I wrote about the movie in 2007 and I think that review does the job of describing many of the reasons it’s great. Obviously I love the whole series, some of them even more than this one, but there are many special qualities particular to this installment. I am a devotee of MAD MAX BEYOND THUNDERDOME.
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