L'urlo e la furia

Leonard Maltin describes this film as a "strange adaptation" of the rather dense and difficult William Faulkner novel of the same name. Perhaps the lesson here is that the book is indeed unfilmable. The movie takes numerous liberties with the novel and generally omits large portions of it. I can't help but feel that Yul Brynner, with his peculiar accent, was miscast as Jason Compson. In the book, Jason is the youngest sibling of Caddy and Benjie; here he is described as an adopted son, and not "blood" kin. We also have a completely made up sibling named Howard, who does not exist in the book. The novel takes place in the late 1920's with many flashbacks, here the present day is the mid 1950's. Despite its shortcomings, including a rather overbearing and jazzy music score which doesn't really fit, The Sound and The Fury does have its merits, starting with the always watchable Joanne Woodward as young Quentin Compson, presumably around 18 years of age and still in high school. The photography was fine and the ambiance, both inside and out, of the deteriorating Compson mansion was spot on. The small town atmosphere of Jefferson, MS was captured nicely. I would recommend this film to Faulkner buffs and Joanne Woodward fans. Just don't expect too much.

A great source novel, a fine director, a terrific cast and two very good writers so what could possibly have gone wrong? Something obviously did for at best Martin Ritt's film of William Faulkner's "The Sound and the Fury" never rises above camp which is fine by me just so long as you don't expect anything more than a trashy piece of Southern Gothic.

This was a Jerry Wald production and was aimed at an adult audience or maybe just an adult American audience who took these shenanigans for granted, (its Deep South setting has always been a source of fascination). It's a family saga, (naturally), and set on some kind of plantation, (naturally), though perhaps the most interesting aspect is that the black servants are much more forward thinking than their white employers.

A miscast Yul Brynner, (with wig), is the head of the household; Joanne Woodward, (too old for the part she is playing), is the rebelious young girl whose mother, (Margaret Leighton), abandoned her as a baby but who has now returned to the fold; Ethel Waters is the 'Mammy' character, Jack Warden is the 'idiot' uncle, Francoise Rosay is Brynner's mother and Stuart Whitman, the carny with an eye on Woodward. With such a disparate cast you could say they are a very strange family. On the plus side it certainly looks good; Charles G Clarke shot it in Cinemascope and it is certainly lush. It might have been better if it had been even trashier; as it is it's somewhat po-faced. If you must have Faulkner go with "The Tarnished Angels" or even "The Long Hot Summer".

This movie is only loosely inspired by the William Faulkner novel. The character of Jason has undergone a complete rewrite and here he is the angry yet well-intentioned, and somewhat misguided, head of the Compsons, desperately trying to pull the family up by their bootstraps.

As a movie, The Sound & The Fury stands on its own quite well. Yul Brynner and Joanne Woodward turn in powerful performances. As the strict guardian to young Quentin, Brynner plays the role with equal parts of anger and determination, with a touch of sizzle thrown in. Woodward, as the young Quentin, is both desperate and vulnerable, but tough. You can't deny the underlying chemistry between these two characters. Their scenes together crackles in the summer heat. Interestingly, Woodward was already expecting her first child while filming this movie. Brynner's southernized Russian accent is an entertaining distraction. This is a must see but leave your expectations of an adaptation at the door. Hopefully they'll release a DVD soon!

This is "based on" William Faulkner's classic novel, The Sound and The Fury. If you were wondering how they managed to get the nifty incomprehensible narrative onto the big screen...they didn't, instead opting for all the clichés of the Steamy South.

Of the two Quentins in the novel, the filmmakers decided to do away with male Quentin and instead focus on Caddy's illegitimate daughter. This did not upset me as much as it does some fans of the novel- all Quentin really does is lust after his sister. The scene in which the incestuous desire is most apparent is transposed to the big scene, except it's girl Quentin (Joanne Woodward) being forced to say her sleazy travelling circus artist's name by her "uncle" Jason (Yul Brynner).

In this film, the novel is re-done as Quentin's coming-of-age. Jason is now adopted rather than being her blood uncle so the writers can have their cake and eat it. Quentin is Jason's only hope to save his adopted family's good name: his adopted sister Caddy (Margaret Leighton)is an ageing nympho; one brother is an alcoholic; and the other one, Benjy, is a mentally-retarded mute. The parents were no good either.

It's almost a parody of Southern Literature: nymphos, lushes, incest, lust, and it's quite entertaining on this level. However, the casting choices were poor. Joanne Woodward has a lovely Southern accent but she was pushing thirty when she played seventeen-year-old Quentin, making her look more like an idiotic woman rather than a schoolgirl (although this family are a bunch of misfits). Yul Brynner does not exactly come to mind when you think of a Southern brute but he is suitably brutish and sensual. Jason in the book was hardly sensual but the film-makers need their romance.

Margaret Leighton isn't that bad as Caddy. It's not clear why her brothers would be so infatuated with her but she fills the role of decadent mother quite well.

Whoever is playing the travelling circus man is risible, as is the person who wrote the dialogue. We get a bunch of clichés, pseudo-meaningful lines and illogical flirtation. It all looks like somebody filmed a dud Tennessee Williams play.

If you're looking to punish a student too lazy to read the novel, please show them this film. Unless you desperately need your fix of steamy Southern melodrama, I would return to Tennessee Williams. Poor William Faulkner must have got a bit of a shock when he saw this.

Watching this adaption of William Faulkner's The Sound And The Fury I can only wonder he must have thought of this abortion of his work. This film seems to have been influenced by Harold Robbins more than Faulkner.

For one thing the novel is a far better subject for a mini-series as it takes place over a couple of generations and is written from several points of view, not the straight linear narrative we get here. Secondly the novel was updated to present day meaning 1959 Mississippi. The civil rights era was on in Mississippi in 1959 and the attitudes expressed here would have been lost in 1959. The novel came out in the late Twenties and some of the action went back a generation earlier.

These Compsons are one dissolute bunch and the only one of the family holding them together is Yul Brynner as Jason because heaven forfend he realizes they're not rich any more and that big mansion has gas and electric bills that need paying. He actually works for a living. The hope of the family may be Joanne Woodward as Quentin who is the illegitimate daughter of the most dissolute of all the Compsons Margaret Leighton.

Leighton has been living away from the family and the genteel Mississippi folks she's been brought up with because of her disgrace with Woodward's birth. But she comes back and that sets off a whole chain of events that causes everyone to reevaluate how things are going for the Compsons.

Ethel Waters did her last role in The Sound And The Fury as the family maid. Her family even in the servile position that blacks had in Mississippi in those days is still stronger than the Compsons even Yul Brynner. Too bad no musical number got worked into the script for her.

The cast is a superbly talented one and they do their best with a hard to recognize Faulkner work, but the film as a whole comes up way short.