The Fury (1978)
Directed by Brian De Palma
When a devious plot separates CIA agent Peter Sandza from his son, Robin, the distraught father manages to see through the ruse. Taken because of his psychic abilities, Robin is being held by Ben Childress, who is studying people with supernatural powers in hopes of developing their talents as weapons. Soon Peter pairs up with Gillian, a teen who has telekinesis, to find and rescue Robin.
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7 films that influenced The Fury
What critics say influenced The Fury
If Obsession is DePalma's Vertigo and Dressed to Kill is his Psycho, The Fury is his North by Northwest or The 39 Steps, eventually pairing a fugitive with an ironic femme fatale against power mongers in cross-country pursuit of a platonic symbol, though Robin comes to resemble nothing in Hitch so much as the lighted briefcase from Robert Aldrich's Kiss Me Deadly.
If Obsession is DePalma's Vertigo and Dressed to Kill is his Psycho, The Fury is his North by Northwest or The 39 Steps, eventually pairing a fugitive with an ironic femme fatale against power mongers in cross-country pursuit of a platonic symbol, though Robin comes to resemble nothing in Hitch so much as the lighted briefcase from Robert Aldrich's Kiss Me Deadly.
If Obsession is DePalma's Vertigo and Dressed to Kill is his Psycho, The Fury is his North by Northwest or The 39 Steps, eventually pairing a fugitive with an ironic femme fatale against power mongers in cross-country pursuit of a platonic symbol, though Robin comes to resemble nothing in Hitch so much as the lighted briefcase from Robert Aldrich's Kiss Me Deadly.
If Obsession is DePalma's Vertigo and Dressed to Kill is his Psycho, The Fury is his North by Northwest or The 39 Steps, eventually pairing a fugitive with an ironic femme fatale against power mongers in cross-country pursuit of a platonic symbol, though Robin comes to resemble nothing in Hitch so much as the lighted briefcase from Robert Aldrich's Kiss Me Deadly.
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If Obsession is DePalma's Vertigo and Dressed to Kill is his Psycho, The Fury is his North by Northwest or The 39 Steps, eventually pairing a fugitive with an ironic femme fatale against power mongers in cross-country pursuit of a platonic symbol, though Robin comes to resemble nothing in Hitch so much as the lighted briefcase from Robert Aldrich's Kiss Me Deadly.
De Palma began his career with a pair of comic if slightly sinister tributes to the Peeping Tom, Greetings and Hi, Mom!, but The Fury introduces a souring on voyeurism in his work--the fear of seeing something un-unseeable is now taking precedence over the cheap thrill of spying--that will continue through the autobiographical Home Movies and reach its apex when John Travolta literally covers his ears at the end of Blow Out.
Carrie is his masterpiece, but he has made many other great movies; Sisters (1973), The Fury (1978), Dressed to Kill (1980), Blow Out (1981), Scarface (1983), and Casualties of War (1989) -- an exception to the rule, a dynamic message movie.
It was, however, a mismarketed one, and it inevitably suffered as the director’s follow-up to the nearly perfect horror film Carrie (1976).
He had a lot of fun in " Carrie ," when Sissy Spacek tore apart houses and burned down the high school.
One almost gets the impression that DePalma's attraction to the material was the chance to visit a Bizarro realm where Sue Snell has Carrie White's powers, and to that end he casts Irving as Gillian, a classically average prep-school student who doesn't seem to know she has ESP until others do.
A follow up to Brian De Palma's Carrie , this more streamlined thriller about another telekinetic girl (Amy Irving) has few supporters, but it revealed further development in De Palma's storytelling skills.
De Palma’s follow-up to Carrie uses that movie’s parapsychology as a jumping off point; yes, here too there are mean girls getting comeuppance via telekinesis, but The Fury is more ambitious than Stephen King’s adolescence allegory.