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His monochrome Mad Max comes at an interesting time for the relationship between colour and black and white. “Losing some of the information of colour makes it somehow more iconic.” “Something about black and white, the way it distills it, makes it a little bit more abstract,” Miller has said. To choose black and white at any point since the 1960s is to advertise your film as either historically evocative ( The Elephant Man) or experimental ( Pi), an homage ( The Last Picture Show) or a spit-and-glue indie ( Clerks).
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But the ubiquity of colour eventually lent the senior format greater cachet – or at least made shooting in black and white a statement, like using a typewriter instead of a laptop. Colour, intended to supersede it, was the vibrant present and the limitless future. Black and white represented the drab, superannuated past. The relationship of colour to black-and-white cinema used to be analogous in some respects to the one between talkies and their silent predecessors. After six Oscars and a worldwide gross of $358m, however, he is finally being indulged. It had been Miller’s wish all along to make the picture in this form, but major studios don’t generally pour $150m into black-and-white action movies. It’s the faces and the landscapes, both equally craggy, that have a surprising new texture and prominence in George Miller’s colourless version of Mad Max: Fury Road (subtitled “black and chrome edition”), which reaches cinemas this month, two years after the success of the eye-popping original. But the fireballs and flame-throwing guitars look subtly different now subdued, even classical. And they’re still in hot pursuit of Charlize Theron, as she ploughs her juggernaut across the post-apocalyptic desert.
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That’s still Tom Hardy strapped to the front of a speeding jalopy, while shaven-headed kamikaze drivers zigzag around one another bellowing their war cries.
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T ake a look at the latest Mad Max movie and you will notice that it isn’t, in fact, a new Mad Max at all.