Furia

Eighty years after its first release, this story of mob violence in USA is a savage indictment of the American system of mob "justice" from the 1880s to the 1960s. The fictional events of this movie, based upon a true incident, took place in the 1930s. Produced by Joseph L. Mankiewicz, directed by Fritz Lang, it stars Spencer Tracy and Sylvia Sidney in the key roles; with an excellent supporting cast, this is a story that stands the test of time.

I won't comment much on the plot and the story, both of which have been adequately addressed by the storyline on the main IMDb page, and a ton of detailed reviews here.

However, without Lang and Mankiewicz on this production, the dramatic irony would not, I think, have been as effectively portrayed - for two reasons. First, Lang coming from a Germany where Nazism was ascendant, knew all too well what injustice was all about and how people can prostitute their principles for what is perceived as justifiable retribution. Second, Mankiewicz was a highly experienced actor/producer/director who has shown, throughout his career, that injustice in all its forms must be shown for the evil it is. With such a combination at the reel wheel, this movie was guaranteed to be hard-hitting.

Lang's direction is very much on form, using lighting and shadow for full effect; using close up, quick editing in mob scenes; using the camera in extreme close up to ensure viewers note a particular item; and cross-cutting and inter-cutting scenes to heighten suspense. Not the first director to use those techniques, but Lang was a master at it.

For the most part, the script and dialog are excellent. My only critique centers upon the courtroom scenes and dialog which, by today's standards, are somewhat stagy; the repartee, between the prosecution and defense counsels, is particularly so, too often for this viewer. And the very last scene, seemingly preachy and even corny, which involves a long verbal exchange between the judge (Burton) and one of the main characters, can only be fully appreciated in the context of the times: a long history of lynching across the USA, an economy in the midst of a Great Depression and a nation on the cusp of another world war.

For Lang enthusiasts, Fury is a must see movie, despite the presence of a couple of handy coincidences, an improbable result with the use of dynamite and a glaring loose end - at the very end. Still, this is a movie that should be seen by all, and one I heartily recommend. Eight out of ten.

April 24, 2015

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.

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.

The hard worker Joseph "Joe" Wilson (Spencer Tracy) and the teacher Katherine Grant (Sylvia Sidney) are in love with each other, but they do not have enough money to get married. Katherine gets a better job in Washington and together with Joe, they save money to get married one year later. Joe quits his job in the factory and uses his savings to buy a gas station, working with his brothers Charlie (Frank Albertson) and Tom (George Walcott). He makes enough money to get married with Katherine and buys a car. While driving with his dog Rainbow to meet his fiancée, Joe is stopped in Strand by the redneck Deputy "Bugs" Meyers (Walter Brennan) as suspect of kidnapping a boy in the Peabody Case. When they find peanuts in his pocket and a five-dollar bill in his pocket with the numeration of the money paid for ransom, Joe is arrested in jail for investigation.

"Bugs" Meyers makes a comment in the barbershop about the prisoner and sooner the gossip is spread in the little town. As a tale never loses in the telling, Joe is accused by the population of kidnapper and they try to invade the police station to lynch him. For political reason, Governor Burt (Howard Hickman) does not send the National Guard to help Sheriff Tad Hummel to protect Joe and the Police Station is burnt down by the vigilantes. Katherine witnesses the action and has a breakdown.

Joe is presumed dead but out of the blue he appears at his brothers' apartment seeking justice. He had learnt that in accordance with the laws, Lynch Law is murder in the first degree and his brothers open a case against twenty-two dwellers of Strand. The prosecutor Mr. Adams accepts the case and Katherine Grant is the prime witness. Joe's revenge is set in motion.

"Fury" tells the heartbreaking story of dehumanization of a good man and hard worker that believes in the justice and loves his country through the imprisonment and subsequent lynching by despicable people moved by gossip. Fritz Lang makes another excellent feature in his first American work, and I enjoyed the gossip sequence that ends in a brood of hens.

The story is engaging with a great revenge of the bitter Joe. I would love to see the twenty-two defendants going to the gallows, but the moralist conclusion works perfectly in the story. My vote is eight.

Title (Brazil): "Fúria" ("Fury")