We recently covered how the incredible Austrian-German director Fritz Lang paved his way from dark, expressionistic German films to his American output which would provide stepping stones to film noir. His sophomore American effort You Only Live Once was a cynical tale of humanity and the criminal justice system that packed an emotional wallop. His American debut from the year before in 1936, Fury, was similarly impactful although not quite as bleak coming from MGM. Based on the story Mob Rule by Norman Krasna, itself loosely inspired by real life events, Fury tapped into unsettling fear of mob mentality, a subject which would have been of utmost interest to an auteur who had just escaped from Germany to avoid getting caught up with the bubbling Nazi regime. Although MGM was already compromising by deviating from the polished dramas and vibrant musicals that built the studio, they ensured Lang also compromised by delivering a product that would be palatable to a general audience. The resulting film is nevertheless a powerful and stirring drama that hits just as hard today.
Spencer Tracy (Libeled Lady, San Francisco) stars as Joe Wilson, a man who is saddled with the fact that he does not yet have the means to marry his fiancee, Katherine (Sylvia Sidney, who would reunite with Lang on You Only Live Once). The unsparing climate of the The Great Depression has put a bind on everyone, and the pair must spend at least a year apart to give Joe enough time to save up some money. The true love between the two is apparent as he reluctantly puts her on a train out of the city and he heads back to the shack where he lives with his two brothers, Charlie (Frank Albertson) and Tom (George Walcott). Joe is a standup guy who we learn becomes a gas station owner, which also helps set his brothers straight after they had given into the pressure of the time and gotten into the racketeering business. When Joe finally finds himself stable enough financially, he sets out to meet up with Katherine but gets pulled over along the way by a policeman. Through a series of assumptions and tough breaks, he becomes the prime suspect in the prominent kidnapping of a child.
What happens from here in a masterclass in escalating tension. From the initial innocuous connection of Joe’s love of peanuts to a key aspect of the case, circumstantial evidence begins mounting and word begins to spread throughout the town. Of course, having a lowly officer bragging about being involved with the investigation soon leads to a game of telephone where Joe’s guilt gets more solidified with each passing recitation of the situation. This is where Lang really reaches the frenzied apex of mob mentality, having seemingly reasonable citizens decide they need to carry out justice out of respect for the victim. Yet, no sentence has been handed out. There is not even solid evidence – just a few out-of-control rumors and an impassioned community. When the crowd descends upon the jail, chaos ensues and the jail gets set on fire with Joe inside and Katherine arriving just in time to see everything happen. It is an anxiety-inducing sequence that Lang frames like the gifted filmmaker he is, stark close-up and off-kilter angles making every moment sing.
This event is not made any less impactful once you find out Joe managed to escape before being burned alive. Despite having all the grand tension of a finale, this is only halfway through the story. The mob violence is the catalyst for everything that happens; the crux of the story is whether the still-alive Joe wants to get revenge on twenty-two citizens who are charged with his murder. He could stay sequestered and watch them “get what they deserve” or he could choose to follow the upstanding position that usually exemplifies his actions. Lang has a lot to say about the country he had just recently started calling home, eager to point out the contradictions of what America is supposed to exemplify and how its citizens act in the darkest moments. It is a sentiment that is carried out flawlessly by Spencer Tracy, delivering one of the great knockout performances of his career. Sidney plays the girlfriend who exemplifies goodness very well, as it is a role that she would be put into many times. The narrative really packs a punch, and Lang uses his directorial prowess to elevate the message to greater heights. As a debut in America, it is as strong of an opening statement as you could hope to make.
Video Quality
Warner Archive presents Fury for the first time on Blu-Ray with 1080p transfer sourced from a 4K scan of the best preservation elements. Warner Archive continues to deliver quality work time and time again, and the image is nothing short of stunning for a film that is 85 years old. This black and white feature has nice, natural film grain throughout that provides a great amount of detail to the image. Fritz Lang was a master of visuals, and every shot comes through beautifully. The presentation has a pleasing amount of depth to it including in the shadows where there is no evidence of any black crush. Print damage is virtually nonexistent to these eyes throughout the duration of the movie. It is always amazing to see how film preservation can bring new life to a film. Warner Archive can place this release among their best work.
Audio Quality
This Blu-Ray release comes with a DTS-HD 2.0 Master Audio track that sounds simply wonderful. Spencer Tracy can present with a bit of a mush-mouth delivery, but dialogue comes through crystal clear. As a matter of fact, none of the sound effects or the music ever overpowers the dialogue on this release. The more kinetic sequences including the burning down of the jail are appropriately lively in the speakers. There does not appear to be any damage or age related wear to the track. There are optional English (SDH) subtitles available on the disc for those who need it. Overall, this is an excellent audio presentation that gives the material the life it deserves.
Special Features
- Audio Commentary: Filmmaker Peter Bogdanovich provides a commentary track with an archival interview with director Fritz Lang inserted into the track. Although not without its moments of silence, this is an extremely entertaining and informative track which provides context to the career of Lang, anecdotes from the production, tidbits about the film, praise for the feature and so much more that helps accentuate your appreciation for the feature.
- Trailer: The two-minute trailer is provided here.
Final Thoughts
Fury is a top-tier effort from Fritz Lang as he uses his American debut to both comment on the dangerous political situation he had just left as well as the imperfect American reality. Spencer Tracy handles this delicate role in quite an impressive manner, and Sylvia Sidney complements him perfectly. Warner Archive has released a Blu-Ray featuring a stellar A/V presentation and a couple of great special features. If you are a fan of Lang, Tracy or just hard-hitting dramas, this one is worth seeking out. Recommended
Fury can be purchased directly through the Warner Archive Amazon Store or various other online retailers.
Note: Images presented in this review are not reflective of the image quality of the Blu-Ray.
Disclaimer: Warner Archive has supplied a copy of this disc free of charge for review purposes. All opinions in this review are the honest reactions of the author.
Dillon is most comfortable sitting around in a theatre all day watching both big budget and independent movies.
