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.
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 horror fantasy bent. But every moment in this film is either one of sight or touch. Sight is what allows…
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:
This review reportedly contains spoilers. I can handle the truth.
It was sort of blah, with a silly plot and Kirk Douglas being as smarmy as her could be. The last scene where John Cassavetes dies though, yasssssssssssssssssssssssss one one of the best movie deaths ever.
A progenitor of De Palma's obsessive surveillance and voyeurism motifs, overlaid with a bombastic telekinesis plot that makes Carrie look like a restrained social drama. Psychic powers visualized as cinema (when Amy Irving peers into the minds of others, she sees their memories projected as if onto a big screen), where mere touch is deadly (all we can do is watch). Kirk Douglas, the most badass 60-year-old in history, leaping from rooftops bare-chested and handling an AK-47 with ease. And John Cassavetes, slimy and evil with a dead arm and wicked words; he may have been phoning it in for the paycheque, but what a phone.
Also one of the greatest final shots in cinema.
One of the worst De Palma films I have seen. Yes, even worse than Passion. It's just so dull, even when displaying some of the destructive psychic powers that the film revolves around.
De Palma's great flourishes were here, and Kirk Douglas is good. However, the pace sags through the middle and the majority of the acting is bland. Cassavetes is alright and scenes featuring psychic powers are effective. And the final scene is fantastic. Some good bits in a mediocre movie.
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".
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…