Alicia I love this movie so much

Mjeteconer Just perfect...

Acensbart Excellent but underrated film

Roy Hart If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

anthony-rigoni There is no other actor who can portray Joe Wilson like Spencer Tracy. This film is so powerful, so intriguing, and so wonderful, I've never seen any movie like it.Spencer Tracy stars as Joseph Wilson, an innocent man who was supposedly killed by a group of blood-thirsty vigilantes. Now, the tables have been turned because 22 members of the vigilantes are standing trial for Joseph Wilson's "death" and Joe is itching to get even with the same people who not only did him wrong, but also killed his beloved dog, Rainbow. Will Joe's conscious make him reveal to the members of the trial and the 22 defendants that he is alive or will he let his 22 "murderers" die? There is no other film that can depict a story about vigilantism gone wrong like Fury. Spencer Tracy and everyone else in the movie has put effort into their acting and the story is phenomenal. Also starring Sylvia Sidney as Katherine Grant, Walter Abel as the district attorney, Bruce Cabot as Kirby Dawson, Edward Ellis as the Sheriff, Walter Brennan as "Bugs" Meyers, Leila Bennett as Edna Hooper, Frank Albertson as Charlie, Helen Flint as Franchette, George Walcott as Tom, and Terry(the dog who played Toto in The Wizard of Oz) as Rainbow.

vincentlynch-moonoi I just finished reading the section of the new Spencer Tracy biography which discusses the making and success of "Fury", long one of my favorite Tracy films. In fact, before this early MGM film of his, his only truly notable films had been "The Power And The Glory" and "Dante's Inferno". The shooting schedules for Tracy's "Fury" and Tracy and Gable's "San Francisco" overlapped. Apparently, Fritz Lang was a pain in the patutty...a virtual tyrant directing this film, to the point where Tracy and Lang barely spoke. Nevertheless, the results then (much bigger box office than MGM had anticipated) and now (as this is seen to be an early Tracy milestone) speak for themselves.The story begins easily enough -- a guy (Tracy) and a gal (Sylvia Sydney) are hoping to marry, but to earn more money (this was in the middle of the Great Depression) they separate temporarily (which turns out to be over a year). He does all right, opening a gas station. He buys a car and goes to meet and marry Sydney.Then things turn dark. He is picked up on suspicion of kidnapping, which of course he was not guilty of. Placed in jail, while a hick deputy sheriff (Walter Brennan) blabs around the community. A mob develops, but instead of lynching him, they burn the jail down, with Tracy and his little dog in it. Burned to death as his fiancé watches.Or was he? Tracy suddenly appears as a dark, malevolent specter before his brothers...alive...and ready to exact his justice simply by letting the leaders of the lynch mob be found guilty and condemned to death in a court room. But, through an excellent trial sequence, Tracy slowly goes nearly mad with revenge, and ultimately his brothers begin to turn against him. But meanwhile, the guilt of 22 men and women is pretty much proved through newsreel footage. And then, when a surprise (and clever) bit of evidence is brought forward, Sydney realizes Tracy is still alive. The question is, will Tracy come forward, or remain silent. Apparently Lang was very angry over the edits MGM made to the film, particularly the final scene...and perhaps a kiss in front of the judge was taking it just a bit too far...perhaps embracing would have been enough.Tracy is superb here. No longer a "junior" actor, but a calculated actor who masters his role. Sydney is just as wonderful.Walter Abel performs well as the district attorney trying the men leading the mob. Bruce Cabot is fine as the worst of the mob leaders. Edward Ellis is excellent as the hard, but fair sheriff battling against overwhelming odds. It's unlikely you'll recognize many of the other supporting actors here, but they all play their parts well and lend a believability to the story.A part of my DVD collection, and one of the rare films I will award an "8" to. A must if you love cinema.

Putzberger A movie about an innocent man unjustly accused of murder seeking vengeance against the mob that tries to lynch him runs the risk of being either melodramatic (think Mel Gibson) or preachy (think Frank Capra). "Fury" manages to be both, but brilliantly. Spencer Tracy plays Joe Wilson, the wrongly imprisoned man, in a performance that would be legendary if this movie weren't too disturbing to be considered a Hollywood classic. Joe, a down-on-his-luck auto mechanic in love with a pretty schoolteacher, would be almost cloyingly naive (he eschews tobacco for peanuts) if Tracy weren't so restrained and naturalistic. There isn't a hint of darkness or menace to this good, simple man, which makes his transformation into a scheming, manipulative liar after he's arrested and assaulted even more unnerving. A good actor could play a wounded innocent (think Tom Hanks) or a bloodthirsty avenger (think Lee Marvin). Only a genius could play both, and that's what Tracy does when he becomes the "fury" of the title. Of course, he's assisted by one of the greatest directors in film history, Fritz Lang (think "Metropolis"). Lang didn't shy from the grotesque -- you need a strong stomach to get through Peter Lorre's extreme close-ups in "M" -- and here he depicts the mob that burns down the prison holding Tracy as a bunch of freaks from a Bruegel painting. Was Lang lampooning the Nazi scum who had recently chased him out of native Germany, or was he ridiculing the rednecks and yokels in his adopted home of America? I'm not sure, but I do know that the lynch mob's assault on the county jail is pretty sickening without the blood, gore and throbbing music that modern directors would pile onto it. The movie climaxes with an eerily prescient count sequence which is clearly a battle of legal chicanery, not good vs. evil. There's even a foreshadowing of trial by mass media. Staggering.There are, sad to say, a couple of genuine if non-fatal flaws in the form of two Hollywood legends -- Sylvia Sidney and Terry the Terrier. Sylvia plays Katherine, Joe's love interest and ultimately his conscience. She's pretty, and she's not a bad actress, but she can't overcome the operatic swooniness of her role, which makes her a bit coarse and cartoonish in contrast to Tracy's depth. If Kate Hepburn had already left RKO for MGM by 1936, she could have made Katherine complex, credible and formidable, and she and Tracy could have made one undisputed masterpiece together. (Hollywood legend she may have been, Hepburn was always a romantic heroine -- she never stared into the face of evil like Sylvia has to do here.) Terry the Terrier, who would achieve immortality as Toto in "The Wizard of Oz," is onhand as Joe's dog Rainbow, who is a slightly too obvious symbol of his kindness. She's cute, but a little saccharine and unnecessary, but she handles her miscasting well and is clearly on her way to better things.

jc-osms ...produces monsters. I remember this Fritz Lang classic from my youth and wondered if it could match up to my memories and capture me as it did those 30-40 years ago. I'm a huge fan of Lang's work, especially his unjustly overlooked, in my opinion, Hollywood movies, where he benefited from the advances in film technology, star actors and of course the relative freedom to make the films that he wanted without Nazi persecution.I've never marked a film "10" on IMDb before but cannot deny "Fury" this score. Like before, it just blew me way with the bravery and topicality of its subject matter (I've read up on the source-story of the Brooke Hart lynching in the US of only a few years previously), the imagination and verve of the cinematic devices that Lang employs to get his story across and last but not least some superb acting, most obviously from Spencer Tracy as the "ordinary Joe" (his name has to be deliberately chosen), but also from the greatly underrated Sylvia Sydney as his girl and in the nick of time, his redeeming conscience.The narrative is taut-tight, albeit with just a few humorous injections to keep the story on a human level. Lang wields his large cast with consummate ease, particularly the mob scene itself and the extensive courtroom scene which follows it. Tracy conveys his transformation from in-love happy-go-lucky journeyman Joe to hate-consumed avenging angel brilliantly with Sydney the calm to his storm who brings him back to reason just in time for the fates of the lynch mob on trial. The ensemble acting is great too, no character overplayed.There are so many memorable scenes to relate which demonstrate the maestro's sure touch - just a few amongst many - the juxtaposition of the rumour-mongering townsfolk with cackling hens, the use of close-ups particularly on Sydney's sad but honest face, the shot of a grizzled, hardened, transformed Tracy in the doorway before his grieving brothers are just some which come to mind but there are so many other Expressionist touches to savour.Some might argue the banality of Tracy's tell-tale giveaway which exposes the truth or the speed of the change of mood from dark to light right at the end, or even the plot similarities to his earlier, epochal "M" but I'll afford Lang all the cinematic licence he needed to put across this potent anti-lynching message (with obvious overtones of the Nazi thuggery then prevalent in his native Germany).For me then, this film is what great cinema is all about and as you can tell I just can't praise it highly enough.