The most important person in theMad Maxmovies is not, in fact, Max Rockatansky.
Nor is it Imperator Furiosa.
It isnt even one of the villains, be they Immortan Joe or Lord Humungus.
No, the most important person is the tattooed old man seen inFuriosa: A Mad Max Saga.
This emphasis on misremembering and mythology in the Mad Max franchise underscores a central truth of aesthetic interpretation.
No single explanation covers all possibilities.
He goes on to explain the final fate of Furiosas (Anya Taylor-Joy) kidnapper, Dr. Dementus.
Dementus becomes human fertilizer for a peach tree, ending his life by creating instead of killing.
The legacy of her idealized Green Place lives on in the Citadel she refuses to call home.
In the most simple version, Furiosa just shoots Dementus in the head, killing him in the desert.
That distinction emphasizes the subjective element, as ones personal experiences and desires affect the telling.
The History Man shows his own subjective nature earlier in the film too.
Its revealed these comics are by a History Man too.
After all, we had books before the world died and didnt need to rely on tattooed storytellers.
The History Men carry the knowledge otherwise easily forgotten in the desolation.
This further applies to the events of all remaining Mad Max movies.
FromThe Road Warrioron throughFuriosa, the events of these movies arent necessarily true within the world of the films.
In other words, each of the Mad Max movies are interpretive works, not regular narratives.
At first glance, this montage seems like an obvious connector between the two movies.
But because they come along with the History Mans admittedly unreliable narration, the scenes throwFury Roadinto confusion.
That sounds bad, butMad Maxis always about confusion.
The franchise occurs in a world thrown into disarray.
But its not a world of despair.
