Justiça Injusta

This sad history really happened on thirties in San Jose California and later a book and on fifties into a movie about a jobless guy played by Lovejoy who try gets a job without success, so find a clever guy Lloyd Bridges as Jerry Slocum who invite him to a little job as night driver, after few works they made a kidnapping and end up killing the victim, Tyler now is a disturbing person who is involved in a murder, Jerry actually the brain in all this mess trying to get the money, but all fall down after Tyler had a nervous breakdown, it's about how the press can pressure all people to make revenge for ours hands, the movie is good, although l'd never saw so realistic acting from Lloyd Bridges like that fantastic!!! Another character to be mentioned is Velma played by gorgeous Adele Jergins who is a woman to pursuit an easy life, great Noir from the Cy Endfield!!

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First watch: 2017 / How many: 1 / Source: DVD / Rating: 8

I, too, saw this picture as a child, on television, alone, late at night, and I can still recall the powerful impression it made. Truly frightening in its revelations of human depravity and mob violence. Lloyd Bridges' best performance by far, he is absolutely gripping as the deranged and heartless murderer. The scene in which he is in his cell, with the mob breaking into the prison and coming to get him, is stunning in its power. I haven't seen the film in a half century, but I still remember those moments.

Interestingly, a prior movie, Fury (1936) presented a similar scenario about a man wrongly accused of committing a similar crime as in this story. But two different stories by different writers, however; and very different outcomes. If you can find a copy of Fury, it's well worth your time.

Anyway, I recall seeing Sound of Fury when I was around ten, on a Saturday afternoon matinee at the local cinema.

I recall being quite upset when I watched it; I recall also the two main actors, the reserved worker, Frank Lovejoy (Howard) and the flamboyant, arrogant conman, Lloyd Bridges (Jerry) - such a brilliant contrast of characters, even then at ten. Thereafter, I followed both actors in subsequent movies.

Of course, I did not follow this story very well at that age, but the final fifteen minutes or so riveted me to my seat, never to be forgotten. Hence, when I saw it recently again, I felt an odd mix of the same emotions from over seventy years ago.

Briefly, Howard (Lovejoy) is reluctantly enticed by Jerry (Bridges) to embark on a life crime because he has no job. Eventually, Jerry commits a truly heinous murder of a young man and forces Howard to help dispose of the body. When they are arrested for the murder, they are held at the central police station under heavy guard, awaiting trial.

Soon, though, the local media whips up citizen anger about the murder and eventually a mob begins to congregate at the cop shop, demanding justice. Without doubt, this story and production still ranks with me as a superb exposition and critique of how the media (and authority) gave the base aspects of American culture an opportunity to overwhelm due legal process.

The pacing and dialog are appropriate, the acting is superb, and the finale is a tour de force in editing and directing.

I think Sound of Fury should have won awards. Maybe the topic revealed much more than the producers were expecting in those times? Simply because it viscerally displayed a hard truth that many preferred to keep in the background, out of sight, even then.

Eight out of ten for this excellent production.

Recommended for adults, young and old.

The unemployed Howard Tyler (Frank Lovejoy) is desperate for a job since he is married with children and his wife Judy (Kathleen Ryan) is pregnant. When he meets the "bon vivant" Jerry Slocum (Lloyd Bridges), the stranger offers a job position to Howard. Soon he learns that Jerry is a small-time thief and his job would be to drive the getaway car after the heist. Howard improves the life of his family and tells that he is working in the night shift of a factory. Meanwhile, the journalist Gil Stanton (Richard Carlson) that works in a tabloid is assigned by the owner to promote the thefts to increase the selling of newspaper. When Jerry kidnaps the son of a millionaire, he brutally kills the man and forces Howard to help him to dump the corpse in the sea. Then he asks for ransom to the family. When the boy is found, Stanton incites the population telling that the abductors are monsters. When Howard and Jerry are arrested, a mob threatens their lives in front of the police station. How will the police officers protect the prisoners?

"The Sound of Fury" is a film with a simple storyline and an impressive conclusion. The manipulation of the masses by the "brown press" (tabloid) to sell newspapers is impressive and the consequence is scary. The reaction of the uncontrollable violent mob is the best part of this movie and shows the power of the free press, for the good or for the bad. My vote is seven.

Title (Brazil): "Justiça Injusta ("Justice Unjust")

Despite a catch-penny tile, "Try and Get Me" (aka Sound of Fury) remains a truly frightening movie whose disturbing imagery lingers long after the voice-over reassurances subside. The director, Cy Endfield, was one of the lower profile victims of the Mc Carthy purges. Viewing this movie now, it's easy to see why.

Family man and returning vet Howard Tyler (played by the always low-key Frank Lovejoy) is recruited into a life of crime by no more than ordinary desires for the American Dream. Desperate and unemployed, he falls into the clutches of a swaggering stickup man superbly played by a preening Lloyd Bridges. (Notice how subtly Bridges bends Tyler to his will on their first meeting at the bowling alley.) Joining Bridges, Tyler finally gets the standing he desires, but the spiral he has entered dooms him and his family's share of America's promise. (Note that conspicuous among the lynch mob's vanguard are fraternity boys, true to the actual event on which the movie is based.)

Throughout, the lighting and photography effectively undermine the facile voice of reason that the producers probably felt obligated to include. Endfield may have wanted an anti- violence film, but the resulting visual landscape implies a world of endemic violence. A sense of powerlessness pervades the film, one that mere admonishments cannot overcome. As a result, the characters appear caught in some terrible metaphysical web from which there is no escape. Events march relentlessly on to a conclusion that remains one of the most harrowing in Hollywood history. This is film noir at its darkest and most frightening.

Something should be noted in passing about the compellingly exotic performance of Katherine Locke as Hazel the manicurist. Watch her facial expressions as this highly repressed plain-faced woman experiences yet one more rejection in what a paste-on smile shows to be a lifetime of rejections. Never has a blossom perched so precariously on a cheap hairdo conveyed as much lower-class longing as hers, while the car ride with a guilt-ridden Tyler could serve as tawdry inspiration for a dozen feminist tracts. What ever became of this unusual actress, I wonder.

Without doubt, however, the film's dramatic high point is the lynch mob. It's one of the most coldly unnerving 20 minutes in movie annals, far surpassing (in my view) the better-known Fury (1936) in its depiction of mass violence. The fact that the mob is made up of ordinary citizens brought to fever pitch is especially telling. Unthinking violence is thus shown as potentially present in us all.

At the same time, the screenplay refuses to take the easy way out. In fact, Howard and Jerry are guilty, unlike, say, the three unfortunate cowboys in The Oxbow Incident (1943). Thus, what repels us is not the fact that innocent men are killed for a crime they didn't commit. That would be too easy. Instead, I think we're unnerved by how the crowd appears to celebrate the brutality of vigilante justice. Endfield succeeds in making this aspect especially ugly. Yes, in a very general sense, justice is served—murderers are in fact punished for their crime—but if so, justice is served in a particularly barbaric way even if the act does have popular support. In my little book, Endfield has fashioned the most effective of all anti- lynching movies, in part because it doesn't take the easy way out.

That Endfield exiled himself to England and a conventional career with Stanley Baker, shows how much was lost among those purge victims whose disappearance, unlike many others, went generally unnoticed. Just a couple of years after the remarkable "Try and Get Me" (and Endfield's also provocative "Underworld Story"), Hollywood began sanitizing the screen with the escapism of period spectacles, Technicolor westerns, and full-cleavage sex goddesses. Indeed times had changed. As Endfield already knew, the studios had to fight the Cold War too. There would be no more thought-provoking Try and Get Me's.