![]() But much of the appeal still resides in the outlandish makeup, apparel, and armaments of the rugged, persevering troopers, highlighted by chase sequences with shielded yet haphazardly culled vehicles. Familiarly, overgrown henchman Blaster wears a helmet to conceal his face, exactly like The Humungus from the previous film. The visual look is still paradigmatic of postapocalyptic thrillers, utilizing primitive weaponry, bondage-like leathery ensembles, rusty armor, and general squalor. Thrusting Tina Turner into the established wasteland world of Mad Max is quite the stretch, even if she’s bedecked in chainmail, wild hair, and outlandish costuming to match the series. The barbaric society uses Thunderdome, a gladiatorial caged arena to settle disputes, and it is here that Aunty hopes Max can kill Blaster – legally and with no rules for warfare (which turns out to be the best scene in the film). Entity hopes to regain control of her realm by putting “Master Blaster” back in his place, as he routinely orchestrates power embargoes to force her to admit to his supremacy over the town’s loudspeakers. Proving his talent for survival, Max is secretly hired by Aunty to strike up a duel with the hulking Blaster (Paul Larsson), a monstrous bodyguard (and mode of transportation) for the dwarfish Master (Angelo Rossitto), who runs “Underworld,” a subterraneous facility where energy through methane is generated to power Bartertown. Once in the ramshackle district, Max is brought to the leader, Aunty Entity (Tina Turner), who tests his skills as a warrior against a fleet of tattooed thugs. “Mad” Max Rockatansky (Mel Gibson), now sporting long hair, is on foot, trekking through the hot sun to the large jerry-built community called Bartertown, where he seeks information on Jedediah – who stole his camel-drawn wagon of belongings. He autogyro pilot returns, now given the name Jedediah (Bruce Spence), manning a more advanced airplane, and partnered with a copilot child (Adam Cockburn).
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