Mad Max: Fury Road” – and the precision of craftsmanship that went into its ambitious chase sequences – I found it essential to return to the first source of that inspiration, a small and inexpensive movie that began life as a shell for one director to pour his distinct vision into. The first endeavor about the wandering avenger Max – then an agent of justice who had yet to endure his inevitable personal tragedies – was a broad and coarse character study without the refined world that we recognize as post-apocalyptic (though it did, in fact, open after the end of a devastating war). What separated it from a host of other law-enforcer-turned-punisher vehicles of that time, however, came down to a principal of technical values; it was not one of those pictures that blurred the coherence of a story in the jumbled images of nonsensical action, but one that celebrated the danger of the open road in photography with impeccable clarity. The majority of the picture seems to exist as an open protest of the time’s shoddy trend, and there is not a moment where we suspect the man handling the cameras isn’t willing to be right there in the middle of the chaos along with his subjects, potentially in the hands of incredible danger. In those first images are the seeds that would go on to become the elaborate shows of the later films of this series, arguably brought to a furor of artistic perfection in the most recent.