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A government agent (Kirk Douglas) has his son kidnapped
for his psychokinetic powers. He survives several attempts
on his life, using a friend to make a connection with a girl
(Amy Irving) possessing prospective similar abilities. He
helps the girl escape a secret military research agency, and
she in turn leads him to his son and a confrontation with
the man who took him. However, the boy's mental prowess has
progressed beyond his control and the reunion doesn't turn
out as expected...
Two
Brian De Palma films to review in quick succession, and as
a minor horror aficionado I find it curious that The Fury
in its entirety has managed to pass me by since its cinematic
release in 1978. In an age when comic-book action and emotional
overacting seem to take preference to the actual plot, it
feels strangely refreshing to watch a twenty-four year old
movie which is simple but well-told. The extent of the special
effects amount to a blue light shone into a character's eyes,
and the powerful son swooping down from high on the wall on
quickly glimpsed wires. For the latter I felt obliged to half
turn my head away and pretend I hadn't noticed, because it
would have spoiled an otherwise effective film.
Luckily for Douglas his part involves little or no physical
strength or fitness, and although he is by no means bad he
doesn't make much of an impact either. The star of this film
is Amy Irving; innocence, disorientation, fear, determination,
it's all there in abundance. A good performance which deserves
recognition.
Based
on the novel by horror writer John Farris (who also wrote
the screenplay), The Fury became one of a glut of psychic-related
movies, in content perhaps fitting somewhere between The
Eyes of Laura Mars and Scanners.
The
DVD packaging states strong bloody horror; I think I must
have blinked when that happened. There's very little of what
would in this day and age be considered near-the-knuckle stuff,
but The Fury succeeds for exactly this reason: it doesn't
try to achieve too much.
Ty
Power
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