Following Carrie, De Palma managed to create a completely different kind of girl with telekinetic powers, adding government conspiracy and upping the ante on the practical gore. Irving's intense facial gestures and fierce eyes capture her fury, and De Palma's one-of-a-kind direction behind the camera is like a conductor to an experimental orchestra. The ending puts Scanners to shame.
I can see how, on the heels of Carrie, this looked like a vague, slow, lukewarm retread of old ideas. But four decades later, when prime era De Palma films are a limited resource, it's a fun Tuesday night, where concerns about shaky plotting or muddled psychodrama can get tarted up in a seductive surface. Bonus points for evil John Cassavetes.
Amy Irving is amazing in this film, particularly when she becomes hysterical. Whether she is running in her white nightgown, or blowing peoples heads up with her mind, I couldn’t take my eyes off of her. That scratching scene - I could watch for hours on loop!
Seen again yesterday 35 years after its theatrical release! At that time, DePalma, with Spielberg and Carpenter, was THE director to watch for our generation of film addicts. In the light of the whole DePalma filmography, one can recognize in The Fury a number of recurrent themes. It has aged very well ! Recommended.
Awesome effort from De Palma which to be honest veers wildly between genres and stetches the running time a bit too long. BUT, the acting is good, Williams score is AMAZING, the visual stylings great, the suspense set pieces thrilling and the direction is good and sometimes even masterful. Well worth your time if you have not seen it.
Is the guy a psychic or a goddamn wizard that flies? I think de Palma was a little bit confused over this topic. And why do people keep falling off windows? Well, another shitty picture from de Palma, though I have to admit that watching Cassavetes blow up in pieces in the end is sheer fun...
Yes it extends the Carrie allegory of puberty, but what is really striking is how De Palma's depiction of an adult's forced control (while attempting to maintain distance) is what motivates the application of a split-diopter. While at first it feels unnecessary in such a tightly photographed 1.85 frame, it becomes apparent the tool conveys an awkward need of space, but the simultaneous the fear of divorce.