Missing films I can't locate on Letterboxd:
Blonde Ambition (1981)
The Devil in Miss Jones (1972)
I Like to Watch…
An experience in terror and suspense.
A government agent is determined to come to his son's rescue, when a sinister official kidnaps him to harness his extremely powerful psychic abilities.
Oh, Brian, you insanely talented man. All the way through The Fury I was thinking "This isn't so great... meh." That is, until the last scene and that last fucking shot. You got me, you really got me. That was best final shot in any movie, ever. Holy fuck, really, De Palma!? You had the balls to even roll the credits after that. Genius. Pure genius.
The Fury stars Kirk Douglas, John Cassavetes, and Amy Irving. Douglas was fit, man. He looked like he could lift a horse. Cassavetes sported a sling throughout the film. I'm sure it was a character choice as he doesn't have much to do here. He still is as creepy as all fuck. Irving isn't…
Liberace's dad on a relentless quest to find his missing son. A fun day at the beach ends in disaster. Free your mind and the rest will follow. Bloody visions. Roid rage. Frisbee with a dog. Playing Pong. Skinny Dennis Franz. Busting out of a nuthouse. Whiskey cures toothaches. Telepathic puppeteering. Tragic falls. The blue eyed glow of death. Douglas is great. Cassavetes fucking owns, but both needed more screen time. I didn't click with Amy Irving and she has way too much screen time for me to fully enjoy. Douglas in a speedo mowing down baddies with an AK-47 is the shit though.
Being a parent is hard. One day you're a superhero, a literal giant, necessary for your child's survival. Then all of a sudden they're bigger and faster than you, smarter and more mature, and off to college where they learn to use their minds to blow up fascism and the agents of darkness and they don't need you anymore.
A battle of vision
Between those lost in the fog
And those who see...in one word, emotion.
Kiss of death.
Film is seen through sight. Images translate to our brains through our eyes into materiality – what is the becomes that, evidence of something that was in a place in time. But it is only an illusion that our eyes deceive. "Let that screen fill your mind," we are told. And yet, we cannot touch. We can desire to touch—out of lust, anger, fear, or love—but to touch is to destroy the screen.
Perhaps more than Blow-Out, De Palma's The Fury addresses our relationship to cinema, except through the most insane, backwards way possible: a conspiracy thriller with a psychological…
Cosas que molan de La Furia:
- No es un De Palma menor. De hecho, en la puesta en escena, en el montaje dentro del plano y en todo lo demás, está el De Palma de Carrie, pero también el de Vestida para matar.
- Es un thriller de conspiraciones gubernamentales y de gente con poderes psíquicos.
- Tiene ciencia chiflada y se utiliza la palabra "psychotronic".
- Amy Irving. Qué guapa y qué bien está en las pelis de De Palma.
- La musicaza de John Williams. Las músicas de Pino Donaggio para De Palma están muy bien, pero en La Furia Williams se sale.
- Uno de los mejores finales de la Historia del Cine.
Cosas que no molan:
telekinetic bonds between two people = the perfect scenario for the Brian De Palma POV shot. His wild flourishes are so perfect for this kind of movie - he just doesn't know what kind of movie this is (it's ten things at once, all the time)
Things I didn't like about this movie:
1. Kirk Douglas slaps a 17 year old girl for practically no reason
Things I like about this movie:
1. John Cassavetes
2. John Cassavetes's final scene
3. Everything else
The scenes with superpowers are dope. Kirk Douglas is a national treasure. So's De Palma.
Top Ten By Year: 1978 - #6
Pauline Kael’s review of The Fury is one of her most famous because it’s an anomalous hyperbolic rave, a viewing experience that sounds like it amounted to something like an orgasm. Much of the review’s notoriety stems from the generally lackluster reaction people tend to have to Brian De Palma’s follow-up to Carrie. De Palma devotees drool over it, and most others either casually dismiss or actively deride the film. But I’m with you Pauline. I’m with you.
On its face The Fury has a lot in common with Carrie. It’s also based on a novel. It’s also about a girl with telekinesis. It also features Amy Irving. But this one has conspiracies,…
The only De Palma pic quoted by JLG in his "Histoire du Cinema", ridiculous as only best De Palma can be, and born as a failed attempt of adapting "The Demolished Man".
The "impossible" aspect of that novel -the demential relationship of Father and Son, cfr "Mission: Impossible" :D - would be later the center of "Raising Cain".
Spielberg, who laughed big time when the pic came out, took the leading lady as his wife and some ideas of the original novel for his "Minority Report".
A government agent is determined to come to his son's rescue when a sinister official kidnaps him to harbour his extremely powerful psychic abilities.
Brian De Palma's follow-up to Carrie and while it shares similar themes, it doesn't hold a candle to the former. It's not a bad film by any means and for the run time it's perfectly entertaining but it isn't anything more than the sum of it's parts. Kirk Douglas is horribly mis-cast, his chiseled Hollywood looks and persona just don't suit this genre sort of picture.
With it being De Palma it has a certain stylish quality which in this case is enough to give it a pass.
After revisiting Carrie last weekend and discovering that it was a hundred times better than I originally realised, I immediately purchased The Fury, hoping for similar results.
Sadly that's not what I got.
It's easy to see why Brian de Palma would've turned to John Farris's novel about psychic, telekinetic teenagers after his success with Carrie. But it doesn't feel as though his heart was in it.
The first half hour, if not prime de Palma, is really good stuff. But the remaining 90 minutes are slow, meandering, and could've been directed by anyone really.
There's way too much talking about Robin & Gillian and their special powers, and not nearly enough set pieces in which they actually use them.
Gotta love the final few seconds though!
This review reportedly contains spoilers. I can handle the truth.
La volvería a ver sólo por las secuencias de acción que son una excelente muestra de la inventiva y eficiencia de De Palma tras la cámara a la hora de contar de manera estrictamente visual una historia.
Aunque el casting pueda parecer de sueño, la verdad es que Kirk Douglas parece estar en otra pelìcula, Cassavetes pudo haber dado más y Amy Irving no tiene el tiempo suficiente para demostrar nada más. Creo que el problema principal radica en el guión.
Eso si, tiene uno de los mejores finales que haya visto jamás.
Brian DePalma's X-Men.
Missing films I can't locate on Letterboxd:
Come hell or high water I will watch these films this year.
They are a mixture of things I haven't…
All the films I could find that QT uses as reference points in his films.
1-48 Reservoir Dogs (Django of…