#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Based on the story “Mob Rule” by Norman Krasna. Joe Wilson and Katherine Grant are in love, but he doesn’t have enough money for them to get married. So Katherine moves across the country to make money. But things go disastrously wrong for Joe when he stops in a small town and is mistaken for a wanted murderer. Through the course of the movie, Fritz Lang shows us how a decent and once civilized man can become a ruthless and bitter man.
Plot: Joe, who owns a gas station along with his brothers and is about to marry Katherine, travels to the small town where she lives to visit her, but is wrongly mistaken for a wanted kidnapper and arrested.
Smart Tags: #mob #lynch_mob #small_town #presumed_dead #jail #kidnapping #revenge #teacher #rainbow #dog #peanut #pet_dog #human_nature #moral_cowardice #xenophobia #social_conscience #social_injustice #memento #miscarriage_of_justice #black_american #reference_to_popeye
|7.9/10 Votes: 11,387|
|7.5 Votes: 113 Popularity: 9.02|
Dehumanization of a Good Man
The hard worker Joseph “Joe” Wilson (Spencer Tracy) and the teacher Katherine Grant (Sylvia Sidney) are in love with each other, but they do not have enough money to get married. Katherine gets a better job in Washington and together with Joe, they save money to get married one year later. Joe quits his job in the factory and uses his savings to buy a gas station, working with his brothers Charlie (Frank Albertson) and Tom (George Walcott). He makes enough money to get married with Katherine and buys a car. While driving with his dog Rainbow to meet his fiancée, Joe is stopped in Strand by the redneck Deputy “Bugs” Meyers (Walter Brennan) as suspect of kidnapping a boy in the Peabody Case. When they find peanuts in his pocket and a five-dollar bill in his pocket with the numeration of the money paid for ransom, Joe is arrested in jail for investigation.
“Bugs” Meyers makes a comment in the barbershop about the prisoner and sooner the gossip is spread in the little town. As a tale never loses in the telling, Joe is accused by the population of kidnapper and they try to invade the police station to lynch him. For political reason, Governor Burt (Howard Hickman) does not send the National Guard to help Sheriff Tad Hummel to protect Joe and the Police Station is burnt down by the vigilantes. Katherine witnesses the action and has a breakdown.
Joe is presumed dead but out of the blue he appears at his brothers’ apartment seeking justice. He had learnt that in accordance with the laws, Lynch Law is murder in the first degree and his brothers open a case against twenty-two dwellers of Strand. The prosecutor Mr. Adams accepts the case and Katherine Grant is the prime witness. Joe’s revenge is set in motion.
“Fury” tells the heartbreaking story of dehumanization of a good man and hard worker that believes in the justice and loves his country through the imprisonment and subsequent lynching by despicable people moved by gossip. Fritz Lang makes another excellent feature in his first American work, and I enjoyed the gossip sequence that ends in a brood of hens.
The story is engaging with a great revenge of the bitter Joe. I would love to see the twenty-two defendants going to the gallows, but the moralist conclusion works perfectly in the story. My vote is eight.
Title (Brazil): “Fúria” (“Fury”)
“You can’t hurt a dead man”
When Fritz Lang moved to America, he did his best to understand the place in all its diversity, riding trains, hobnobbing with taxi-drivers and even spending six weeks with a group of Navajos. With Fury, his first Hollywood picture and one of the few for which he took a writing credit, you can see he is doing his damndedest to speak about American society in the way he spoke of German society in M or the Mabuse films.
Unfortunately Lang no longer had the input of Thea von Harbou, who despite being a nazi stooge was very good at shaping Lang’s more fantastical ideas into coherent stories. Instead he gets Bartlett Cormack, who rose to some sort of prominence penning several of Cecil B. DeMille’s worst-written features. Oddly, the original story is by the comedy-writer Norman Krasna (who was Oscar-nominated for it), and while structurally it’s fairly tight it is marred by Cormack’s trite dialogue and Lang’s simplistic characterisation.
But really, it wasn’t Lang’s business to be a great screenwriter. He was an incredibly powerful and expressive visual director, and surprisingly much of his formal style has survived intact. He may no longer be able to have the nightmare architecture and cast of uber-hams that make his German films so unique, but Fury is still recognizably Langian. The picture actually begins in fairly typical Hollywood style, with plenty of conventional camera angles and straight acting. Once the story moves out to the hick town however we are suddenly transported into Lang country, with shot compositions of bold diagonals, actors playing straight into the camera and a rogues gallery of bizarre characters. The switch in style is fairly effective, although as with M the hysterical tone doesn’t fit with the real world subject matter. One very effective bit of Lang technique though comes in the form of two lengthy point-of-view shots, one from the perspective of Tracy when he is stopped in his car, the second from that of the mob as it approaches the jail. Putting the audience into these two opposing positions at such crucial moments elicits sympathy for both parties.
Where the movie really falls apart is in the second act, and all the business with the trial and Tracy’s revenge. It’s full of plot holes and stretches of credibility. For example, we know the footage used as court evidence was shot by amateurs from a balcony, yet it impossibly features low angles. Tracy becomes a huffing and puffing caricature, both as written and as played, with the only example of bad acting I have ever seen from him. This exaggerated sketch of a man mad with revenge may make a good point but it makes weak drama.
Lang’s tendency towards over-the-top performances may have harmed his more serious pictures, but at least here he gets a good line-up to do the job. Highlights include Walter Brennan as the shotgun-toting deputy, and silent star Raymond Hatton as the “muderous impulses” barber. Edward Ellis (the sheriff) is great too. He reminds me of Victor Meldrew from One Foot in the Grave. Fury has its share of bad hams as well though, such as those two jokers playing Tracy’s brothers. Sylvia Sidney is the only member of the cast who is really allowed to play it straight all the way through, and she does a fine job, although I have seen her do much better still (in Dead End, for example).
After this, Lang made a few more attempts at writing and producing in Hollywood, it seems in the genuine hope of creating something of profound meaning for the American people, for which I admire him. In the end though he was passed from studio to studio and lumbered with b-pictures, in which he simply retreated into his personal style of shot composition. These efforts tend to be poorly scripted and appallingly acted, but at least you can play “spot the diagonal shadow”. And it was also touching to see the innocent enthusiasm with which he approached genres like the western or the war flick. Fury on the other hand, for all its good intentions, is a mediocre mishmash, and a very disappointing watch.
Original Language en
Runtime 1 hr 32 min (92 min) (Turner library print)
Rated Not Rated
Genre Crime, Drama, Film-Noir, Thriller
Director Fritz Lang
Writer Bartlett Cormack (screen play), Fritz Lang (screen play), Norman Krasna (based on a story by)
Actors Sylvia Sidney, Spencer Tracy, Walter Abel, Bruce Cabot
Awards Nominated for 1 Oscar. Another 2 wins & 3 nominations.
Production Company Metro Goldwyn Mayer
Sound Mix Mono (Western Electric Sound System)
Aspect Ratio 1.37 : 1
Laboratory MGM Laboratories Inc., USA
Film Length 2,527.4 m (UK)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm