Fury

Lang's considerable talent as a director is quite obvious, and the movie is full of that signature low-key photography. Unfortunately it's also obvious this movie was plagued with studio interference. It opens and closes on notes that are far too high for the middle section's extreme cynicism. The dialog is pretty dated, as are some of the supporting cast. Spencer Tracy is amazing though, playing different extremes. No doubt it's a good movie, but probably not as good as it could have been.

I really liked what this film was trying to say about mob mentality and revenge, and Spencer Tracy was excellent as the wrongly imprisoned victim. The film gets a bit sidetracked near the end and a different approach to this part could probably have worked better. The trial works well, but the action around it doesn't seem fully realized, despite how central it is to the film's theme.

For a man who fled the Holocaust, Lang is refreshingly cynical about his new-found American home, equating the government-sponsored racist lynch-mob culture of the US to the government-sponsored racist mob mentality of Nazi Germany; If only MGM had had the balls to actually allow Lang to cast Black actors, and this would've been a straight-up masterpiece. Lang gives some expressionism-lite in his camerawork and Tracy delightfully chews the scenery as a man hell-bent on revenge.

Intense drama about the dehumanizing effects of revenge. The denizens of a small town lynch a man falsely accused of murder. The man, thought dead, miraculously survives and becomes an inhuman monster seeking nothing but revenge on them. The movie invites you to root for the comeuppance of the town's people, for the man to "get" them, but then proceeds to make those emotions problematic. Sylvia Sidney is sublime.

Powerful story about mob rule, with great acting all around. Spencer Tracy is wonderful, and the camera work, dialogue, and writing are all excellent.

Good flick, Tracy is intense!

Fury touches on a lot of subjects: rumor-mongering, mob mentality, justice, conscience, loyalty and honor. It's a tense and thoughtful film, quite well done, and still relevant today.

Fritz Lang is a genius filmmaker to be sure and this is definitely one of the more important and enthralling of the early noir films. That being said, in a medium that is more often than not guilty of misrepresenting the court room and the law, this film has some of the most ridiculous and absurd depictions of courtroom proceedings ever put on film. Fully engage that willing suspension of disbelief, however, and this film is positively dope.

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.

Welcome to American Mr. Fritz Lang! Almost lynched from Nazi Germany to come to America and make a movie about lynching. Mob mentality. How a group of otherwise normal beings can all of a sudden turn into mad men and forgetting about common sense getting caught in the moment. His selected actors does a tremendous job. The movie was filled with brilliant characterizations and use of angles. It was a legit Fritz Lang movie!

A wrongly imprisoned man barely escapes the primal nature of man and funnels all his "fury" into... trusting the justice system again? Which almost works? Lang does a decent job of somehow selling this all as plausible with a plot fueled by peanuts and a singular recurring typo. Slight but impressively morally ambiguous in stretches.

Great fun.

A bit more preoccupied with the spectacle of a twist-filled trial, so it doesn't quite strike at the visceral instincts of vengeance and justice the way something like M does. Still great, though, and visually it's definitely cut from the same cloth. If MGM had let Lang do his original vision of a black victim this would probably be one of his seminal films.

I don't like that stupid Hollywood moral at the conclusion. It could have been a lot better without that.

Viewed July 9, 2020.

very well written, and the story unfolds nicely except for one hitch, the beginning is off in feel and the end is extremely contrived and untimely. for the most part the acting is decent tracy was alright and so was brennan, but sylvia sidney was actually surprisingly good. a couple plot tweaks and a little better editing would have served this movie very well.

A powerful film about injustice and revenge.

987

Probably the best I've seen Spencer Tracy. The story is ok and flows well.

illogical and silly

89.50

Despite the ending, the movie is great.

Loses some effectiveness by portraying the townspeople as evil before, during and after the crime. The other characters develop sympathy for the mob that should translate to the audience, but doesn't convey.

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Think-y film about mob mentality and how easy it is to get caught up in revenge. While the courtroom scenes are a little too preachy and the ending wraps up far too quickly and "perfectly," it's hard not to feel sympathy for Tracy's anger. (What happened to Walter Brennan, though? He disappears midway through the film.)

watched: 2011, 2022

https://letterboxd.com/ladyspiggott/film/fury/

Starts out terribly and ends terribly. Middle wasn't anything special but seems like a masterpiece in comparison. Spencer Tracy is good, in fact, most of the cast is good but it's just weak material with a flimsy message. My score may be a little harsh but I was expecting it to be better, not a boring waste of time.

This could be my favourite Spencer Tracy role. If it wasn't for that terribly hollywood beginning and ending this could easily be Tier 9.

"Lang's first English language film seemed to anticipate the horrors at Abu Ghraib as far back as 1936." - Ed Gonzalez

Classic.

Tracy gives an excellent performance. Powerful anti-violence message is well-made, with strong ensemble acting. Lang's favorite of his American-made films.

The title is certainly apt--this one really gets the blood boiling. An innocent man (Spencer Tracy) is seemingly killed by a lynch mob--and covertly manipulates his attackers' trial with vengeful relish. Not unlike THE OX-BOW INCIDENT, both in subject and quality; Fritz Lang's Expressionistic direction dazzles, and the script, a mildly weak ending aside, packs a massive punch. Tracy's rage, Sylvia Sidney's poignant fiancee, and Walter Abel's oily D.A. all impress. And it references my birthday.

966

Excellent film marred somewhat by a limp-wristed ending. Bloody Hays code...

i understand that the message is not to eat salted peanuts, right?