Fury
1936 Directed by Fritz Lang
Synopsis
When a prisoner barely survives a lynch mob attack and is presumed dead, he vindictively decides to frame the mob for his murder.
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What anger! What rage! What FURY!
It all starts out so swell, Joe Wilson (Tracy) and Katherine Grant (Sidney) are hopelessly in love, but Katherine has to go away for a year to the small town of Strand, where she'll be working as a teacher, earning up some dough for their soon to be held wedding.
The day approaches when Joe is taking the car to go and take her back home. Nearly there he is suddenly stopped by the police and brought in for questioning regarding the kidnapping of a small child. While held in custody the rumor mill quickly goes into action among the citizens of Strand, and after a short while they're convinced he is guilty. The…
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The violent society
Now in small town America
Thirst for justice
Where "law" loses meaning
"The itch that must be scratched"(Takes a lot of the ideas and articulations that are barely scratched in M and then blows them up to 11, made all the more relevant within its evocations of American society as well as the power and truth cinema can give. Major.)
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Fritz Lang only allows the central characters in FURY five minutes to convince us of their love; before separating them for the rest of the film. One of the ways he does this is through peanuts. Spencer Tracy loves them. Silvia Sidney used to hate them; but now, she tells him, "I love you. You love peanuts. I love peanuts." It's such a beautiful sentiment, it could almost inspire a love ballad.* Instead it makes the audience believe in the strength of their bond. So much so that when Sidney's Katherine Grant watches Tracy's Joe Wilson get burned to death by a lynch mob who believes he's kidnapped a little girl, we believe the loss could drive her to insanity.…
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Fritz Lang was easily one of the early editing masters. Conversations overlap nonstop procedural montages in M and Fury is no exception either, quick cutting to flashbacks, seamlessly transitioning from location to location, cutting to facial frustrations at just the right moments. I marvel at well paced drama that hinges on the literal cutting of the film. Also, Spencer-fucking Tracy.
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Dr. Mabuse, Metropolis, M; Fritz Lang made a few of the best films of all time before leaving Germany for the United States(with a brief stop in France). He made some good movies after his Germany days, like this one, but I dont think they come close to matching his earlier work.
Fury was Lang's first movie after coming to Hollywood. It stars Spencer Tracy as a wrongfully accused man with a lynch-mob that wants him dead. Again, Letterboxd(and IMDB) to the rescue with a synopsis that gives away the whole movie! Beware!
The movie has that Old Hollywood feel at the beginning, and it's a bit talkie. But with a 92 minute runtime we get into the story pretty…
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This movie is really great. The film raises a lot of questions about what it means to be human and the stupidity of a mob and how they will do anything like sheep do if a leader does it first and there is some excellent shots in this film and editing. I honeslty didn't pay any attention to the acting because the film was so good and it caught me off guard. Fritz is a great director and I read on the dvd that it is his best American film which out of the ones that I have seen, I agree.
Recent reviews
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What anger! What rage! What FURY!
It all starts out so swell, Joe Wilson (Tracy) and Katherine Grant (Sidney) are hopelessly in love, but Katherine has to go away for a year to the small town of Strand, where she'll be working as a teacher, earning up some dough for their soon to be held wedding.
The day approaches when Joe is taking the car to go and take her back home. Nearly there he is suddenly stopped by the police and brought in for questioning regarding the kidnapping of a small child. While held in custody the rumor mill quickly goes into action among the citizens of Strand, and after a short while they're convinced he is guilty. The…
-
The violent society
Now in small town America
Thirst for justice
Where "law" loses meaning
"The itch that must be scratched"(Takes a lot of the ideas and articulations that are barely scratched in M and then blows them up to 11, made all the more relevant within its evocations of American society as well as the power and truth cinema can give. Major.)
-
Fritz Lang only allows the central characters in FURY five minutes to convince us of their love; before separating them for the rest of the film. One of the ways he does this is through peanuts. Spencer Tracy loves them. Silvia Sidney used to hate them; but now, she tells him, "I love you. You love peanuts. I love peanuts." It's such a beautiful sentiment, it could almost inspire a love ballad.* Instead it makes the audience believe in the strength of their bond. So much so that when Sidney's Katherine Grant watches Tracy's Joe Wilson get burned to death by a lynch mob who believes he's kidnapped a little girl, we believe the loss could drive her to insanity.…
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Magnífica.
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Makes anger look as
if it could cause a man to just
physically explode. -
Holy jump to conclusions Batman
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At no point was anything worth caring about.
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"I'm a couturier and a modiste." No justice like angry mob justice.
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Brilliant thriller. Like in 'M', Lang explores what people a capable of in packs, and as per usual the film is stylishly done. Also, the movie is insanely entertaining, as much so as any contemporary film.