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Fury

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NOOB FILM REVIEW - FURY by FRITZ LANG (1936) pt.2@nazirullsafry1003d
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  1. NOOB FILM REVIEW - FURY by FRITZ LANG (1936) pt.1@nazirullsafry1005d

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    READING THE SUBTEXT - MEDIA MASS PSYCHOSIS AND MOB LYNCHING

    MEDIA MASS PSYCHOSIS

    The film establishes its story well with the development of the main protagonist, Joe Wilson in the first act. It is during the second act that it is obvious to me this is not your normal black-and-white love story which I thought it was. This is Fritz Lang's noir. The same director that 10 years before (1927) has gone out and made one of the greatest film of all time. Metropolis.

    While Metropolis talks about the dystopian future that humanity living with machines, in Fury, it is the introduction of the screen. The screen has now become our culture in 2023 and most of our judgment of everything comes from what we see on it. The screen that has become a part of of what we are.

    Back then in 1936, the screen was still new and revolutionary. Yet Fritz Lang has overseen the impact of it on society. He depicted the society frozen in their expression, lit from below. Zombie-like. It is made worse by the already bad influence the newspaper has. Like how the film Citizen Kane shows.

    In this film, Fritz Lang demonstrates how the concept of 'Chinese Whispers' works. How one thing could transform and be blown out of proportion by the time it gets to the last man in line. And for newspapers to sell, sensationalism is one of the main ingredients.

    What came out from the big screen was mostly film from auteurs. Yet today, everyone has the power with their smaller cameras and screens, with almost unlimited reach. This has led to a critical version of what Existentialist philosophers refer to as Mass Psychosis.

    In 1895, the audience panicked at the first film (L'Arrivée d'un train), showing a train heading their way. Moving forward to the year 2001 and tragedy of the 911 coming from the same screen. The art of using the medium as the tool of deception was perfected.

    And here, Fritz Lang prophesied that what is recorded can be used in a court of law as evidence to ensure justice. But on the other hand, it is also wide open to manipulation and it is too easy to distort the human perception of things. Let alone with all the 'magic' we have today.

    The ending somehow surprised me. It is a typical romantic genre "happy ending" instead of the dark and open noir, Fritz Lang's film ending. It is clarified later in the post-screening session by Anwardi Jamil and U-Wei Haji Saari. Fritz Lang didn't have full control as he did when he was in Germany because of the studio and guild system being used by MGM after his migration to Hollywood. Just for it to land nicely with the majority audience. Which ironically has vindicated the subtext in Fury on the screen and who controls it.

    Also, the irony of the photos attached and their timing (the film screening by KLFS happens at the same time as the street demo) speak for themselves. Which leads us to the next subtext.

    (to be continued in pt.2)

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  2. Film Review: Fury (1936)@drax1078d

    (source: tmdb.org)

    Citizens of USA and other Western countries take great pride in freedom, democracy, human rights, rule of law and other historical achievements they take for granted. It usually takes an outsider to notice that such lofty ideals might be at odds with more prosaic reality. Austrian director Fritz Lang was one such outsider when he left for 1930s Europe because of Nazism and brewing world war and restarted his career in Hollywood. His American debut, 1936 drama Fury, is considered one of the most politically charged works of Classic Hollywood.

    Protagonist of the film is Joe Wilson (played by Spencer Tracy), car mechanic from Chicago who wants to marry his long time girlfriend Katherine Grant (played by Sylvia Sidney). Both of them lack money, so they have to work in different cities. After a year, Joe has earned enough to buy himself a car and finally bring Katherine to the altar. While traveling, he ends around provincial town of Strand where “Bugs” Meyers (played by Walter Brennan), sheriff’s deputy, arrests him because his description and other details match member of the gang who kidnapped a girl. Joe is brought to the sheriff (played by Edward Ellis) who keeps him in jail before the whole matter is cleared. Citizens of Strand, however, are convinced that Joe is actual kidnapper, with rumours quickly embellishing the story and creating a mob determined to exact their own brand of justice. Sheriff tries to protect Joe but he and his deputies are outnumbered and can’t prevent lynchers from setting up jail on fire and destroying it with dynamite. Soon afterwards real kidnappers are caught and confess the crime. Lynching of an innocent man turns into major scandal and Adams (played by Walter Abel), ambitious district attorney, prosecutes 22 members of the lynch mob for murder, with each defendant to be executed if found guilty. Joe is actually alive; he miraculously survived the explosion, but he is now in hiding. As an embittered man who hides with the help of his brothers, he wants nothing but revenge and wants men who tried to kill him to suffer as much he did.

    Lynching in USA is traditionally associated with South and most of the victims were African Americans. The real life event that inspired Norman Krasna to write a story that would ultimately become script for Fury actually occurred in California and the victims were both white. It happened in 1933 when thousands of people (including former Hollywood child star Jackie Coogan) invaded jail in San Jose and lynched Harold Thurmond and John Holmes, two men arrested for kidnapping and vicious murder of Brooke Hart, well-liked son and heir of local tycoon. The whole affair has deeply divided the America between those who commended justice being done and those who were appalled by Californians’ descent into barbarism. Those debates and his own experience of witnessing progressive and enlightened Weimar Germany being seduced by radical street agitators probably appealed to Lang, who had used motive of vigilante justice in M five years earlier.

    The talent that made M into the classic of world cinema can be observed in Fury, especially in the scenes that very effectively show how misunderstandings and rumours quickly turn otherwise fine and respected citizens of small town into bloodthirsty lynch mob. However, inevitable comparisons between two films make Lang’s Hollywood debut clearly inferior. The main reason can be found in desire of producer Joseph L. Mankiewicz not to ruffle too much feathers. Film about lynching was already something quite unexpected for MGM, studio specialised for escapist entertainment and least likely to experiment with social themes and explicit political messages. The closest Fury came to actually addressing lynching problem in America was the statistics used by character of Adams during the trial scene and, implicitly, presence of African American characters. Anything more explicit would not pass the notorious censors of Hays Office and the script, co-written by Lang and Bartlett Cormack, conformed to the strict rules of MPAA Production Code. Character of Joe Wilson, played by Spencer Tracy in one of his more demanding roles, begins as straight morally uptight character who later turns into monster not very different from lynchers that tried to kill him. If Tracy’s character remained as such (as Lang originally wanted), Fury would have been much more realistic, more effective but also a very bleak and depressive film. Script, which have already added some implausible melodrama by having protagonist losing his pet dog during lynching and miraculously surviving explosion, ends with another melodramatic twist in which Joe ultimately does the right thing for the sake of happy future with Katherine. This happy ending was forced on Lang by studio, but in this case studio was proven right at the box office. Fury is, despite artistic and other compromises, a good film, although not the first title that comes to mind when someone mentions filmography of Fritz Lang.

    RATING: 6/10 (++)

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  3. Fury. Entre la brutalidad y la épica | Fury. Between brutality and epic [ESP/ENG]@irvinc1747d

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    La guerra y sus dramas son una fuente inagotable de ideas para el ingenio de los cineastas. Cuando parece que ya se ha visto todo aparece una nueva obra abriendo miradas, replanteando perspectivas, enfatizando posturas, matizando maniqueísmos.

    Eso ocurre con esta película Fury (2014) escrita y dirigida por el polifacético David Ayer, actor, productor y guionista norteamericano. No es la primera vez que Ayer cumple ese doble rol de escritor y director, en el 2013 recibió buenos elogios por la película “Sin tregua” (End of Wath), un policial ambientado en las calles de los Ángeles.

    En Fury, Ayer, vuelve a uno de los grandes temas del cine bélico, La Segunda Guerra Mundial, en sus momentos finales.

    Para darle concreción a su obra echó mano de un excelente elenco, donde dos actores comparten roles protagónicos, Brad Pitt, interpretando el papel del Sargento americano, Don “Wardaddy” Collier, y Logan Lerman, interpretando al novato “Norman Ellison”. Ambos apoyados por extraordinarios actores secundarios, Shia Labeouf, Jon Bernthal, Michael Peña, y Scott Eastwood.

    Ayer, tiene el gran mérito de conocer la guerra de primera mano, fue un ex marine y sus abuelos fueron veteranos de guerra. Contar con esos recursos le ha permitido hacer una película con un planteamiento muy realista.

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    La trama se centra en las misiones que este pequeño grupo de hombres llevan a cabo en Alemania, instalados en el interior de un tanque “Sherman”, una de las armas legendarias del ejército americano. Gran parte del metraje transcurre en el interior del tanque, un escenario claustrofóbico, que sirve a estos excelentes actores para transmitirnos los conflictos cotidianos que se viven en las situaciones límites propias de la guerra.

    Aunque la película está narrada en una sucesión de pequeños episodios, hay un hilo narrativo que les da coherencia, el proceso de conversión del novato Norman, que pasa de ser un inocente muchacho común y se transforma en un fiero combatiente, una “máquina” de matar nazis. Un error burocrático hace que este joven soldado, con apenas una semana en el ejército y que inicialmente ha sido entrenado como oficinista, vaya a parar al interior del tanque en un frente de guerra fiero, terrible y letal.

    El film tiene una excelente realización. Está muy bien ambientado, con mucho cuidado de los detalles, recreando de forma efectiva los escenarios de la guerra. La fotografía también es de primera, una paleta de colores grisáceos, opacos y muy saturados, contribuye a afianzar el dramatismo de las escenas. De igual forma la banda sonora cumple con su cometido de mantener la tensión en esta película de guerra.

    Vi en Fury una película equilibrada donde el director quiere presentar las diferentes caras de la guerra, la brutalidad, el amor, la amistad, el sacrifico, la entrega.

    Podemos ver imágenes brutales como medio rostro humano tirado en el interior del tanque, o las orugas de semejante mole de acero aplastando con todo su peso a un cuerpo yacente en el lodo. Pero también el director nos deja ver la cara de felicidad de dos jóvenes, enemigos según las reglas del conflicto, y que son capaces de hacer un alto para entregarse a la exquisita experiencia del amor. Ayer lo presenta todo.

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    Alguna crítica leí donde consideraban que el autor había sido complaciente haciendo concesiones para reforzar el imaginario sobre el papel protagónico de los Estados Unidos en la Segunda Guerra Mundial.

    Un tema que siempre estará sujeto a interpretaciones. Porque si bien es cierto que la participación de este país fue solo al final y que tuvieron un costo relativamente bajo en comparación con otros países europeos; también es cierto que sin la entrada de los americanos a la guerra quizá el conflicto se hubiera prolongado. Esto por supuesto es pura especulación. Lo que fue, fue.

    Fury, es una buena película de guerra, que haya otras mejores, puede ser, al final todo es cuestión de gustos. No obstante lo que se pueda decir al respecto, sí es un film que cumple plenamente con su objetivo de entretener y hasta puede dejarnos algunas ideas para la reflexión.

    Si usted como yo es amante del cine bélico y sobre todo del que está ambientado en La Segunda Guerra Mundial, atrévase con esta, dese una oportunidad, pueda ser que le guste.

    Gracias por tu tiempo.

    Fuente de imágenes. I II III IV V

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    English



    War and its dramas are an inexhaustible source of ideas for the ingenuity of filmmakers. When it seems that everything has already been seen, a new work appears opening looks, rethinking perspectives, emphasizing positions, nuancing manichaeisms.

    That happens with this film Fury (2014) written and directed by the versatile David Ayer, American actor, producer and screenwriter. It is not the first time that Ayer fulfills this dual role of writer and director, in 2013 he received good praise for the film "End of Wath", a detective film set in the streets of Los Angeles.

    In Fury, Ayer returns to one of the great themes of war cinema, World War II, in its final moments.

    To give concreteness to his work, he has relied on an excellent cast, where two actors share leading roles, Brad Pitt, playing the role of the American Sergeant, Don "Wardaddy" Collier, and Logan Lerman, playing the rookie "Norman Ellison". Both are supported by extraordinary supporting actors, Shia Labeouf, Jon Bernthal, Michael Peña, and Scott Eastwood.

    Ayer has the great merit of knowing the war first hand, he was a former Marine and his grandparents were war veterans. Having those resources has allowed him to make a film with a very realistic approach.

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    The plot focuses on the missions that this small group of men carry out in Germany, installed inside a "Sherman" tank, one of the legendary weapons of the American army. Much of the footage takes place inside the tank, a claustrophobic setting, which serves these excellent actors to convey the daily conflicts that are experienced in the extreme situations of war.

    Although the film is narrated in a succession of small episodes, there is a narrative thread that gives them coherence, the process of conversion of the rookie Norman, who goes from being an innocent common boy and becomes a fierce fighter, a Nazi killing "machine". A bureaucratic mistake makes this young soldier, with barely a week in the army and who has been initially trained as a clerk, ends up inside the tank in a fierce, terrible and lethal war front.

    The film is excellently made. It is very well set, with great attention to detail, effectively recreating the scenes of the war. The cinematography is also first-rate, with a palette of grayish, opaque and very saturated colors, contributing to reinforce the drama of the scenes. Likewise, the soundtrack does its job of maintaining the tension in this war movie.

    I saw in Fury a balanced film where the director wants to present the different faces of war, brutality, love, friendship, sacrifice, surrender.

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    We can see brutal images like half a human face thrown inside the tank, or the tracks of such a steel mass crushing with all its weight a body lying in the mud. But the director also lets us see the happy face of two young people, enemies according to the rules of the conflict, who are able to make a stop to give themselves to the exquisite experience of love. Yesterday presents it all.

    I read some reviews where they considered that the author had been complacent in making concessions to reinforce the imaginary about the leading role of the United States in World War II.

    A subject that will always be subject to interpretation. For while it is true that the participation of this country was only at the end and that they had a relatively low cost in comparison with other European countries; it is also true that without the entry of the Americans into the war perhaps the conflict would have been prolonged. This of course is pure speculation. What was, was.

    Fury, is a good war movie, that there are others better, may be, in the end it is all a matter of taste. Whatever can be said about it, it is a film that fully meets its goal of entertaining and may even leave us some ideas for reflection.

    If you, like me, are a lover of war films and especially those set in World War II, give this one a try, give it a chance, you might like it.

    Thanks for your time.

    Translated with www.DeepL.com/Translator (free version)

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