Jacinta Filiaci

MUS 380

May 2nd, 2016

Mad Max: Fury Road

George Miller and Tom Holkenborg demonstrate a sophisticated sense of

grandiosity in their film Mad Max: Fury Road through their collaboration of sound

and images, especially in a period of cinematic overindulgence. They create a

spectacular film, even with the use of an over the top score as well as several high

action sequences and an arguably simple plotline. Although it is not composer, Tom

Holkenborgs or Junkie XLs first time scoring an action film, with his work on other

blockbusters such as Deadpool, The Amazing Spiderman and Batman V Superman, his

work on Mad Max is exceptionally eloquent because of his attention to detail.

This attention to detail is displayed in the scores blend of both images and

sound (even Foley and dialogue). The events on screen are incorporated into the

music, such as cries (Furiosa gets stabbed, her cry leads to the song Immortan),

honks and engines, collapsing image and sound into one entity (Soundtrack Geek,

Tilnes). Nevertheless, Junkie XLs score still prevails in this collision because he

does not venture into the easy route of creating a more doof or electronic score - a

tempting and almost expected direction in sound considering the presence of an

electric guitar, roaring motors and an apocalyptic, gritty universe. Instead, Junkie XL

chooses to use a classical string orchestra with occasional modern elements such as

electric guitars. The contrast of the scores classical undertones to the disturbing

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and stark images of the nearly over-saturated orange of the desert builds depth and

sophistication in the film.

A scene in which this contrast is most notable is when the Bullet Farmer

becomes blind. He rises on his moving car, howling, I am the Scales of Justice! Etc.

with his hefty guns in his hands. He shoots indiscriminately into the air as he moves

through the blue tint of the desert night. This scene is amplified with the grandiosity

of the score (the song: The Bog). The imagery is accompanied with a magnified and

quickened classical string orchestra as well as, for the first and only time in the film,

transcendent operatic vocals. The combination of sound, score and image depict the

Bullet Farmer in a somewhat godly and divine manner, providing not only a

cinematically outstanding scene but also comedic relief for audiences, as the

physical appearance of the Bullet Farmer is nothing close to a god.

On the other hand, Junkie XL compliments the films imagery in obvious ways

as well. For example, the drumming perfectly fits into the world of Mad Max because

of its warlike tone and stripped, primitive nature (especially in the tracks: Blood Bag

and Chapter Doof) (Move Music UK, Broxton). This percussion is also literally

appropriated in Imperium Joes fleet. In addition, the electric guitar is plainly visible

as Coma-Doof Warrior indiscriminately performs through the chaos of moving

vehicles and flying bullets (perhaps because he is blind). Junkie incorporates this

into the score tastefully, playing with its ambiguous existence in the diegesis. The

electric guitar becomes a sound cue and representative of Immortan Joes convoy

yet also another source of comedic relief for viewers because of its absurdity (The

Guardian, Vine).

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 In summation, Mad Max: Fury Road displays both visual and audible

excellence. The score is the perfect combination of atmospheric and grand, placing

the film onto new levels of quality and taste. The grandiosity of the score is in fact

very risky though this risk is rewarded in the finished product of the film.

Bibliography

Broxton, Jonathon. "Mad Max: Fury Road." Movie Music UK. N.p., 31 May
2015. Web. 2 May 2016.
Tillnes, Jrn. "Soundtrack Review: Mad Max Fury Road." Soundtrack Geek.
N.p., 14 May 2015. Web. 02 May 2016.
Vine, Richard. "Mad Max: The Story behind the Flame-throwing, Scene-
stealing Guitar Guy." The Guardian. Guardian News and Media, 18 May 2015.
Web. 03 May 2016