Furie

Horribly melodramatic, but psychologically complex, well-directed and excellently edited. Spencer Tracy is an innocent man assumed guilty by a mob and "lynched." Making this 1936 film still-timely are the growth of the mob and its trial, conviction and execution of Tracy based only on speculation and emotion instead of on evidence and reason. Also, the line, "I will remind the jury of the easy habit of putting on foreigners events that disturb our conscience" comments on a tendency that still exists today (just listen to talk radio here in Massachusetts!). The story touches on many issues - morality, humanity, patriotism, law, politics, media, etc - and, as such, raises many issues for discussion. Teachers might consider showing this film in class as a start-point into exploration of today's issues. Spencer Tracy gives an appropriately melodramatic performance, but Edward Ellis as the town sheriff gives the best (albeit small) performance. For entertainment value, I'd give this film 6/10; but for fans of any of the stars, the director, or for advocates of civil rights and justice, this film is worth about 8/10; finally, as a tool for teachers, 10/10.

Fritz Lang's first US film is arguably the best he made there,containing elements of his most celebrated film,M,though this time here the mentality of mob violence does not have a genuinely evil monster (so brilliantly portrayed in M by Peter Lorre) as it's point of retribution,but a decent,ordinary man in the shape of an equally superb Spencer Tracy.The first reel or so of FURY is somewhat dull,with Tracy and his fiancé Sylvia Sidney struggling to raise money for their wedding in what seems a straight-forward domestic story.But the film soon gets into gear when Tracy is mistaken for a kidnapper and held in a small town jail,and is lynched by most of the town's population,led by waster and bad boy Bruce Cabot.Or it seems he is lynched......Tracy somehow escapes,and totally hardened by the experience,is determined on exacting revenge against the perpetrators.

The film wasn't a particular critical or box-office triumph in it's day,maybe because it told some unpalatable truths in aspects of American life at the time.While not necessarily Hollywood's best-loved or most effective leading man,Tracy was arguably it's best actor from a technical viewpoint,and his performance is outstanding here.His transformation from an innocuous everyman to vicious criminal is totally convincing.After he makes his way back home to his brother's apartment,his speech detailing his ordeal and his thirst for vengeance is a quite brilliant piece of screen acting.Tracy had this and other memorable big screen monologues to his credit in a distinguished career (watch other fine examples in such films as STANLEY AND LIVINGSTONE,STATE OF THE UNION,INHERIT THE WIND and GUESS WHO'S COMING HOME TO DINNER),and there were few,if any,that could equal him in similar circumstances.There are no forced histrionics,no exaggerated hand or facial gestures,no bellowing out of words,just a careful and believable building up of rage until he explodes on the final word he comes to.......,DEATH!

Aside from Tracy's excellence,the film is at it's most effective in the setting up and brief aftermath of the lynching itself.Lang's penchant for Germanic expressionism and moody lighting is very effective here,especially in the scene where the converging of the mob on the police station is represented by a subjective tracking shot,a remarkably powerful scene which is the film's highpoint.

The film goes slightly downhill in the courtroom sequence,which although has interesting elements (the use of newsreel footage as evidence),tends to get over-melodramatic and obviously contrived(Tracy's peanut habit and word misspelling are not too convincing plot devices),and Lang was reportedly very opposed to the somewhat sappy ending tagged on by MGM(as Hollywood's moral code demanded in the 30's).That aside,fine support performances(Ms Sidney,Walter Brennan,Edward Ellis,Walter Abel,etc.),a good musical score(Franz Waxman),stylish visuals(Joesph Ruttenberg)and bravura direction by Lang still make FURY,despite dated elements,a powerful and effective essay on lynch mob rule seven decades later,which most of it's contemporaries can certainly not boast.

RATING:7 and a half out of 10

A compelling "message picture" with good performances from both Sylvia Sidney and Spencer Tracy and deft direction from Fritz Lang. 'Fury' is tautly dramatic and not without lessons for a modern audience, but it still falls just a little short of masterpiece status.

This was Lang's first American film, the studios were presumably in fierce competition to sign him to a contract and seems clear that MGM was quite proud of itself and thought they could safely fit the Austrian master into their mold while also revisiting some of his past successes. 'Fury' is by no means a remake of 'M' but it does share some key themes. However, the style is a marked departure from the director's German work and the Hollywood treatment keeps this film from being as compelling as its older brother.

Hailing from the Midwest as I do, the Hooterville Junction take on small-town America rankled with me a bit. Gossipy housewives and self-important businessmen are played for laughs and then suddenly turn into a howling mob bent on the death of a man against whom the "evidence" is literally peanuts. It's a serious matter, as we're later reminded by the prosecutor's speech about the number of lynchings in America's then recent history, it should never have been treated lightly.

Do watch it though, and keep an eye out for a very familiar Cairn terrier. Also, early on when Joe and Katherine are looking at bedroom furniture there's a distinct chuckle at the expense of the Hays Code (which was enforced starting in '34).

An idealist sets out to visit his girlfriend, whom he hasn't seen for a year, but he is picked up by the cops for no real reason and thrown into a cell because a flimsy piece of evidence hints that he might be the kidnapper of a young woman. A rumor flares in the small town and soon most of the populace is standing outside the police office demanding retribution.

I won't outline the plot any further, because there are many twists and turns to come. Fury is basically a study in justice, guilt, revenge, and mindless fury. Spencer Tracy and Sylvia Sydney star and are exceptional. The supporting cast is excellent also. Lang's direction is often amazing. It is always stylistic, expressionistic and it challenges you every step of the way. Watch for one scene near the center of the film where Lang cuts together a series of close-ups. His timing is incredible here. The script is imperfect. In fact, there are a lot of instances of unbelievability and silliness in the film. It is a testament to the rest of the script (and the other aspects of the film, too) that Fury ends up being such a great film. I like it nearly as much as M. It may not be quite as good, but it moves at a brisker pace and is thus often more exciting and suspenseful. 9/10.

... because you have this typical Depression era love story with a young couple in love but not enough money to get married at a time when married women were not expected to work after marriage. The guy, Joe WIlson (Spencer Tracy) is an optimistic fellow, living with his pseudo gangster brother and his baby brother that the gangster brother is trying to influence.

Joe quits a dead end job and buys a gas station and starts to make plenty of money. His fiancee (Sylvia Sidney) has been away from him a year working as a teacher to also save money. And then the day comes for them to reunite - there finally is enough money. He drives a car across country to meet up with her. And she waits and waits for him. Joe is never late. But little does she know that things have gone terribly wrong. That's where this tale goes to a very dark place.

Without giving away too much, a chain of events are set off that rips all optimism away from Joe and leaves him a changed and bitter guy, and he sets off on a really terrible yet understandable road of revenge.

This is probably the first real meaty role at MGM that Spencer Tracy got, and others followed soon after. It's also a rare 1930s message picture from that studio, dealing with mob mentality and violence. Although most mob violence was directed at African Americans during that time, so it does not quite have the courage of its convictions, it is still engaging.