For Furie (1978), Brian De Palma finds Amy Irving after Carrie au bal du diable (1976). Another fantasy thriller around telekinesis. For this film, the director embarked on a new exercise by shooting a very specific scene that he did not appreciate at all.
Furyafter Carrie at the Devil’s Ball
Immediately after the success of Carrie at the Devil’s Ball (1976), Brian DePalma embarked on another novel adaptation with Fury (1978). This time it is not a work of Stephen King, but of John Farris – also screenwriter of the film. It is still easy to make connections between the two, since Fury is still a fantastic thriller about telekinesis. In addition, we find in the casting Amy Irvingsole survivor at the end of Carrie. However, if Carrie remains focused on the young high school girl who, because of the mockery of her classmates, will end up indulging in a bloody massacre, Fury begins with a story of kidnapping.
The kidnapping of young Robin, gifted with extrasensory perception and psychokinesis, after the assassination attempt on his father, Peter Sandza, a former CIA agent. The latter manages to get out of it, and then tries to find his son. For this, he can count on Hester, who works in a center which has just welcomed Gillian, a young girl who has the same powers as Robin. This one having a very strong link with the boy, she could allow Peter to locate his son.
A chase that ends in the fog
Although less loved than Carrieespecially because of its somewhat grotesque finale, Fury rest a fascinating and extremely dark work. The film is carried away by the music of John Williams (following the death of Bernard Herrmann), by the presence of Kirk Douglas in the leading role and the bewitching big eyes of Amy Irving. A duo accompanied by John Cassavetes (the villainous Childress), Carrie Snodgress (Hester) and Andrew Stevens (Robin). Plus, Brian De Palma does as always memorable visual proposalslike this sequence in slow motion when Gillian witnesses the death of Hester.
However, there is a scene from his film that the filmmaker did not like filming at all. It is car chase with Kirk Douglas. The latter is then in a car with two policemen whom he threatens, and tries to escape from Childress’s men. The whole thing takes place in a tunnel, then on a bridge before ending in the fog.
An exercise too boring for Brian De Palma
With Fury, Brian De Palma launched for the first time in the exercise of the chase. But as explained in the book ofinterviews with Samuel Blumenfeld and Laurent Vachaudthe director hated this experience.
It was my first time filming a car chase in Fury. I took it as a challenge but quickly hated it. So I placed it in the fog to stylize it as much as possible. Because turning in a car, there is nothing more boring. What are you going to show? A guy moving the steering wheel, reflections on the windshield. There aren’t many solutions to make it interesting.
The filmmaker has a strong opinion on car chases, feeling that it was difficult to make them appealing to audiences. All the more after French Connection (1971) which offers a memorable chase between the road and the skytrain of Brooklyn.
We’ve seen hundreds of them and it’s very boring to watch. The best chase ever filmed is in William Friedkin’s French Connection. If you don’t have a better idea, it really isn’t worth the effort of filming a new one.
It is indeed difficult to make this kind of scene really attractive, without having to go through an over-cut montage. Some filmmakers will still have found good ideas. For its part, assuming that exercise does not interest him, Brian De Palma will have offered only very rarely in his career. We still remember Blow Out (nineteen eighty one), when John Travolta tries to join Nancy Allen. But it is ultimately more often on foot that the characters of the director will be best illustrated.