Before watching Furiosa, I was anticipating what George Miller could bring to the table in terms of action, spectacle, and special effects. I was not looking forward to any sort of continuation of Mel Gibson’s MAD MAX, let alone a conclusion – in this film. And yet somehow, some way, I got that. Look, I loved FURY ROAD but Tom Hardy’s MAD MAX felt less like a cinematic continuation of the character we knew from MAD MAX, THE ROAD WARRIOR, and BEYOND THUNDERDOME and more of a wholesale reinterpretation of the character by the original author, George Miller, in collaboration with a new actor. Hardy’s Max felt like an in-universe reboot of a character rather than a continuation of Mel Gibson’s interpretation. This was not Alden Ehrenreich’s Han Solo or Ewan McGregor’s Obi-Wan Kenobi. This performance was not an elevated impression or an homage. It was a performance that felt evolved, full of fresh choices – though connected in spirit. But the choices confused some fans when it came to continuity. Just google the question: “Where does FURY ROAD fit in on the Mad Max timeline” and you will get so many theories, explanations, and comments that the only correct answer is that it does not at all.
It is a rare occurrence but not unprecedented to see such an in-universe reboot of a character. William Shakespeare actually did something similar with Falstaff in “Henry IV, Part 1” vs Falstaff in “Merry Wives of Windsor”, especially when played by different actors in repertoire. Maybe a labored comparison, but I see the handoff of the character from Mel Gibson to Tom Hardy as more than just an actor’s reappraisal of a character but a change of the character in age, tone, and situation to the point that this is more the “spirit” of Mad Max and less of anything we could even draw towards some sort of conclusive, cohesive Max Rockatansky story when factoring in Hardy’s performance.
And FURIOSA is a prequel to FURY ROAD – a narrative focused on telling the origin story of Charlize Theron’s Imperator driver FURIOSA as played by Anya Taylor Joy in this prequel (in a performance more reminiscent of one of those previously mentioned loving homages than a wholesale reinterpretation like Tom Hardy’s version of Max). If anything there would be no Tom Hardy as Mad Max. So I had given up on any sort of conclusion to Max Rockatansky as interpreted by Mel Gibson and had concluded that the last we would see of THAT Max was him wandering into the sunset of the Wastelands at the end of BEYOND THUNDERDOME. That is, until Praetorian Jack hit the screen in FURIOSA.
When I first saw Jack, played by Tom Burke (an acclaimed and powerful trained theater actor seen in the “Strike” TV series and in films THE SOUVENIR and MANK) I thought his performance might have been just a coincidence, a stylistic nod. Tom Burke’s interpretation of the character had a certain calm swagger that had a knowing assuredness to it. Then I saw his jacket – unmistakably Max’s leather jacket with shoulder pad – and pants, albeit a different cut and color, but the similarities were unmistakable. Then I saw Praetorian Jack’s hair, eerily similar to that of Gibson’s in ROAD WARRIOR and also in the second half of BEYOND THUNDERDOME. And lastly but most importantly, I noticed Burke’s performance as Praetorian Jack. The cadence, the stare, the Australian accent, and the general physicality of Burke’s performance were all reminiscent of Mel Gibson’s performance as Mad Max in the 1980s, more so than Hardy’s performance in Furiosa. And I think this was for intentional reasons, they are at least initially, somewhat unclear. Though I have a few theories.
At one point when the War Rig is in Gas Town and Dementus catches Furiosa idling in the cab, he asks, “Are you in charge here?” Furiosa does not answer and Jack swings into frame and answers, “You can speak to me.” The cadence and delivery were eerily similar to Max Max’s cadence in THE ROAD WARRIOR when he dealt the legendary quote, “Two days ago, I saw a vehicle that would haul that tanker. You want to get out of here? You talk to me.”
At another point in the film, Jack is seen making a trade with the bullet farmer for a “boom stick” – possibly the same model that Max used in THE ROAD WARRIOR and BEYOND THUNDERDOME. Jack then gives it to Furiosa.
Now I know Yahya Abdul-Mateen II was originally cast to play Praetorian Jack and his interpretation would have inherently been a version that did not mirror that of Gibson’s Max but when Burke was recast, perhaps George Miller saw an opportunity to do something with the character that was previously unplanned – but which this happy accident would allow for.
Prima facially, Burke’s performance choices do two things. First, I think having Jack as a Max creates a sense of trust with the audience that is able to do a lot of quick dramatic work where we can buy Furiosa’s growing trust and relationship with him even though she has been borderline feral for the movie up until that point. Second, we as an audience care more for him because we see this Jack character as a proxy for Mad Max. We want to root for him. We want him to succeed because Praetorian Jack reminds us of the Mad Max that we once knew and loved. And George Miller knows that using this inserted performance will do a lot of heavy lifting dramatically.
But Burke’s performance also does a few things that are a little less obvious. For me, the performance operates as a way to revisit Mel Gibson’s version of the character and to see what that version of Mad Max might have become in the Wasteland, post BEYOND THUNDERDOME. Barter Town is specifically mentioned in the Historian’s speech in FURIOSA. And perhaps George Miller also regretted not giving any closure to that version of Max in FURY ROAD, just as some fans regretted not seeing it, something that may not have occurred to him until after the film was released and audiences had so many questions.
Through Praetorian Jack, we ostensibly see that the Mel Gibson version of Max Rockatansky dies. But we also see him redeemed through his actions and relationship with Furiosa before his death. But we also see him redeemed through his actions and relationship with Furiosa before his death. Jack shows genuine care for another, and passes along his knowledge and skills to someone else before doing so. He also falls in love with that person – a tremendous but unforeseen event that offers comfort while ultimately paving the way for Jack’s doom. What an appropriately tragic end for that version of Max Rockatansky.
A Possible Connection Between The Two Max Versions
If you’re with me this far and buy into Tom Burke’s performance as Praetorian Jack then I invite you to go with me here. I think some of you might say, well, Mel Gibson’s Mad Max would never go out like Praetorian Jack. Well maybe it doesn’t. I think that Praetorian Jack’s fate gives us more than just closure on the Gibson Max. It connects the two Mad Max versions. Maybe George Miller actually gives us a way to connect the two performances in this same universe and in this timeline. Hear me out:
Praetorian Jack dies at the hands of Dementus after being dragged to death. After the dragging concludes and Dementus discovers that Furiosa has cut off her own arm to escape the clutches of his tow truck, we see her running across the desert and finally collapsing within eyesight of The Citadel. It is at this moment that we see Tom Hardy’s version of Mad Max watching over her – almost like a guardian, waiting to intervene, but the time is not right yet.
Although played by a stunt double, the cameo is clearly meant to be Hardy’s Max. He is standing VERY much like Hardy, eating a can of rations (as Hardy was in FURY ROAD), and dressed in the signature Max garb that Hardy wore. And, in my theory, Praetorian Jack aka Mel Gibson’s version of Mad Max has been resurrected into Tom Hardy’s Mad Max, almost in a Doctor Who-like fashion. This is the Mad Max that this further devolved world now needs. To put it in the words of a famous Dark Knight movie: Praetorian Jack and Mel Gibson’s Max were the hero the Wasteland deserves, but not the one it needs right now. So we’ll get Tom Hardy’s Mad Max. The two versions are now one in the same, a single timeline – holistic and unified through… resurrection. Remember, Tom Hardy’s Mad Max ONLY appears in universe and in the timeline after Praetorian Jack dies.
Now if you think this is crazy, I don’t blame you. BUT remember for a second that George Miller is the same guy who realized that he would have to come up with a backstory for Furiosa’s missing arm. He decided to have her tattoo the arm with the directions back to the Green Place presumably to keep us speculating that its existence would ultimately be the reason for Furiosa’s arm being cut off. Instead her arm was randomly scraped to the point of unrecognition in a car accident and then chopped off by her and left with Dementus and his crew – so that she could escape. So Miller knows this is all going on. He knows all of the moves on the chess board. He is a smart guy and not blind to any of it. So while it is a wild theory, it is certainly one that I think he would not be too shocked if he ever heard. Heck, I would contend that he may have already thought about it himself.
By presenting Praetorian Jack as a spiritual successor to Mel Gibson’s Max, George Miller offers a satisfying conclusion to the character’s journey while also connecting the two versions of Mad Max in a surprising and unexpected way. But what do you all think? Is this a crazy theory? Is it a crazy theory you agree with? Let me know in the comments below….
No Scoops Club 