Justiça Injusta

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.

A bit preachy in the style of the day but a remarkable film. The opening is especially strong. Among the interesting touches, the movie lynch mob is made up mainly of college students wearing their school t-shirts. New York Model Adele Jergens didn't have much of a Hollywood career but she's right on the money in this one. Although the time frame is post WWII, the story is based on an actual lynching in San Jose, California, in 1933. Reporter Royce Brier of the San Francisco Chronicle won a Pulitzer for his account of the event.California Governor James Rolph Jr. was quoted as saying he would like to turn over all jail inmates serving sentences for kidnapping to the custody of "those fine patriotic San Jose citizens, who know how to handle such a situation."

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.

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

Howard Tyler (Frank Lovejoy) is a good honest family man living in California who just can't catch a break. Struggling financially and upset that he can't support his family, he falls in with small time hoodlum Jerry Slocum (Lloyd Bridges) who convinces him to join him in robbing gas stations. However, things start to get out of control as they kidnap the son of a wealthy family to hold for ransom. But what follows will have far reaching consequences for all involved...

Also known as Try And Get Me, The Sound Of Fury is directed by Cy Endfield and is based on the novel The Condemned by Jo Pagano (who along with Endfield also writes the screenplay here). The story is incredibly based on a factual episode known as the Brooke Hart case that occurred in 1933 in San Jose, California. Fritz Lang's 1936 film Fury was also loosely based on the same story, which probably explains why Endfield's film had a name change to Try And Get Me.

A brilliant crime thriller, the film is a damming indictment of uncontrolled violence in small town Americana. Its themes involving class divides, the uncivilization and ignorance of some Americans, moral and social collapse and the irresponsibility's of the press, are all rammed home with force by the soon to be blacklisted director. By definition, Endfield and Pagano have crafted the ultimate social conscious movie. Filling it with relevance that will last the ages, the undervalued Endfield also come up trumps in mood setting and visual flourishes. This be prime film noir too. Tumbling pebbles, a crime shown in reflection, our protagonist standing in the dark ruefully looking out a window, a complete night club sequence shot off kilter, all indelible images that linger long in the memory (Guy Roe on photography). Then there's the finale, a brutal and shocking ending that had Raymond Borde & Etienne Chaumenton (A Panorama Of American Film Noir 1941-1953) proclaiming it to be one of the most brutal sequences in postwar American cinema. They aren't exaggerating, it is, and it caps off a stunning movie.

There can be a reasonable argument put forward that the film asks for pity towards the hoodlums of the piece. But that's a confliction that serves as a call for a deeper thought process with the film. The makers are merely adding drips of fuel to an already incendiary device. Hugo Friedhofer provides the music and Kathleen Ryan, Richard Carlson & Katherine Locke fill out the support cast. However, this is Bridges' movie, Lovejoy is excellent as the increasingly fretful Tyler, but Bridges goes from smarm to charm with ease and then to crazy psychotic in the blink of an eye, an unnerving character given the treatment by the big man. Still awaiting a DVD release, any chance you get to see this film you should grab with both hands. Powerful, intelligent stuff. 9/10