The Fury (Brian De Palma, 1978)
A government agent (Kirk Douglas)
is determined to come to his son's (Andrew
Stevens) rescue when a sinister official (John Cassavetes) kidnaps him to harbor his extremely powerful
psychic abilities.
Following Brian De Palma’s
successful Carrie, adapted from the
novel of Stephen King, The Fury was
adapted from John Farris’ novel and is about teenage psychic powers. This cross
between a thriller and horror movie genre film is surprisingly well handled
even if foreshadowed by the aforementioned Carrie.
The Fury is also less about sexuality but more on Freudian themes of the relationships
between the father and his son and the absence of a mother.
There’s a clear struggle
between Peter (Douglas) and Ben (Cassavetes) who are fighting over the title of
Robin’s (Stevens) father figure. However, in this story we also follow Gillian
Bellaver (Amy Irving) who has the
same psychic abilities than Robin. Her path shows how the son was taken. There’s
a lot going on and the meaning levels of The
Fury are multi layered but at some point it gets a bit sketchy and to help
the pace of the film some elements are quickly thrown in the way.
This last point
demonstrates how uneven the film is at moments and besides having some bold
traits for the main characters they have campy and unnecessary reactions. On
the top of my head I just think of the scene in the bus with Peter and Gillian
for instance. In just a few minutes the moods of both characters swing from
high to low.
On the plus side, the
shooting location of Chicago is refreshing and it is not that often that films
are shot in this wonderful city. De Palma’s aesthetics give us a few great
moments of mise en scene with the use of the pan and some over the head shots.
Of course, the obligatory sampling of Alfred Hitchcock movies is present and
use with great style and inspiration. Once again, it is evident that De Palma
is a great technician at his craft and that besides the fact that he lacks in
depth sometimes, his films always have something for the eyes of the initiated.
Lately, I’ve been digging in his filmography and I admit having such a guilty
pleasure at watching his oeuvre. At last, what is Cinema if it pleases us. No
matter if it carries plot holes and that a minor element can be over the top
for no reason.
Even if late De Palma means
burned up directorial talent, the director that worked in the era of his Carrie, Blow Out, and Dressed to Kill
had something exciting and particular to offer. Just like many of his lesser
known films, The Fury might be his
most underrated.
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