A lame-duck, societal-issue drama by Fritz Lang that is quite ineffective in its drama. The plot struggles for life and verisimilitude in the first half, while the cleverness of the second half is absent, becoming heavy-handed in its plot and hiccuping in its pace. Odd Lang's M is so effective during its resolution's similar plot points 5 years earlier, while Fury chokes to death on an awkward self-importance.
Admirable "premier film" de Fritz Lang après son départ de l'Allemagne nazie vers les States, qui raconte avec brio, sur le thème de l'injustice et du lynchage collectif, une époustouflante histoire de fureur et de haine. A voir sans réserve par les fanatiques à la Bronson de l'autodéfense et de la justice expéditive... www.cinefiches.com
Cinematography by Joseph Ruttenberg. Rewatched yesterday: it is by cinema-the supposed filmed document that exposes the participation of the individuals on trial in the attempted lynching-that the truth is revealed, that is, it is through representation that is assumed the truth of the facts, anticipating with this démarche our factual world of images a la minute and representation issues. With the fiery faces of M.
This would have been a masterpiece had it not been for it's portrayal of the media and the mob. What I'm saying is that, for a film that criticizes the way the media sensationalizes crime, the film ironically doesn't seem to have a problem sensationalizing the media and the mob. Other than that this was the best performance by Tracy to whom the film is sympathetic but never makes the mistake of being blind to reality
A small town, inhabited by simpletons, tries to lynch a bewildered Spencer Tracy. Fritz Lang continues to experiment on the unsuspecting populace, provoking law-abiding citizens into ever more grotesque and terrifying outbursts of mob violence. See Popeye, First Blood or Dogville as some of the later examples of films that examine and capture the ugliness of a community's first contact with a stranger.
Examines mob mentality that often leads to physical crimes, which are perpetrated by two-faced cowards posing as respectful citizens. A good and sharp start for Lang's Hollywood career, but there's a lingering sense of studio involvement, particularly in the saccharine ending. A slightly more pallid version of Lang's later film noirs, but the camerawork, acting, lighting, and smooth direction save a great deal.
Interesting Hollywood film from Fritz Lang, that benefits greatly from his subtle but dramatic camerawork and facility with both silent storytelling and artful use of sound. Spencer Tracy smolders as the film careens from a tender love story, to a "wrong man" drama, to a morality tale of vigilante justice and revenge.
Along with The Big Heat and Secret Beyond the Door, my favorite of Lang's American films because it has that explosive and expressionistic energy present in his German films. Yes, the ending sucks, but everything else works so well. The mob scene is a great example of a master at the height of his powers. I'll be having nightmares over it for weeks. The sharp and shadowy cinematography is just wonderful.