Tuesday, May 23, 2017
THE FURY (1978)
FRYEAN MYTHOS: *drama*
CAMPBELLIAN FUNCTION: *metaphysical, psychological*
It's by no means axiomatic that movies are always inferior to any prose works on which they're based: indeed, FURY's director Brian dePalma had succeeded in filming Stephen King's CARRIE, producing a definitive movie version of a strong novel. I saw THE FURY many years ago, and once again more recently, and didn't get much out of either viewing.Further, to the outsider's eye it looks like dePalma was trying to duplicate his CARRIE success, right down to adapting a popular horror novel that became a bestseller. There's even roughly two years separating the two film adaptations from the publishing-dates of both source-novels. So, before writing this review, I decided to read John Farris' 1976 source-novel to see if it gave me any insight as to what went wrong.
I briefly discussed the prose FURY in this essay, where I was most concerned not with the quality of the writing but simply with determining which of the book's characters qualified as the protagonists. I enjoyed the book much more than the movie, even though the book possesses a very rambling storyline and a downbeat, unsatisfying ending. The plot deals with how a super-secret government organization, name of MORG, is plotting to kidnap and brainwash psychics to use as weapons for the U.S. In the book, the two teen psychics-- male Robin and female Gillian-- are not initially in the hands of MORG, and Farris devotes considerable time to showing how the two young people live before being plunged into spy-jinks. In addition, Peter Szandza, father of Robin, is out to find his son before MORG does. Peter is unsuccessful, for MORG, led by Peter's old boss Childermass, manages to capture Robin. Childermass keeps Robin confined to an estate that appears to be a school for psychics, but while testing the docile boy the agents are also trying to break down his will with drugs and sexual temptations. Meanwhile Peter makes contact with Gillian and, after many involved plot-lines, the two of them infiltrate the estate. Unfortunately, Robin's development of his great psychic powers has made a monster of him, with the drugs and sex contributing to the "power corrupts" theme, and both Peter and Gillian are imperiled as much by Robin as by the MORG agents.
Though the plot heaps spectacle on spectacle, the book is a good thriller, and Farris shows his greatest strength in devising detailed characterizations for his protagonists and antagonists. However, most of his best character moments take place thanks to the novel's blend of external dialogue and internal reflections. Film, of course, is never at its best in the "internal mode;" the medium can barely emulate what prose can do with characters' thoughts. John Farris, who adapted his own story into the screenplay for the 1978 film, must have realized this, for he elides most of the novel's rambling plot-action, and simplifies the characters in order to make them more broadly appealing for the movies. Indeed, he, like de Palma, may have had the success of CARRIE on his mind, since he throws in a gratuitous "special FX" scene in which Robin kills dozens of people with his psychic power-- a scene which seems to have no real purpose in the story as such. Sadly, while it was inevitable that Farris had to cut a lot of the book's pleasing secondary characters from the screenplay, he also "dumbs down" his principal protagonists, Peter and Gillian, so that they seem to be no more than stock figures.
Most prose works go through a process of simplification in being adapted to film, but the process can be overdone. For the CARRIE screenplay Lawrence D. Cohen left a lot of King's more complex ideas behind, but Cohen retained the essential appeal of the narrative. Similarly, even though there are many differences between Thomas Harris' RED DRAGON and Michael Mann's MANHUNTER, Mann too succeeds in communicating the significance of the film's characters without the benefit of internal thought. Farris' script for THE FURY, however, is simply dull, and dePalma's direction shows none of the natural charms of CARRIE, emerging as just another big Hollywood set-piece.
Ironically, the only part of the novel that is faithfully rendered is its weakest part: that violent but rather pointless ending. Farris' screenplay naturally devotes much less time than the book does to metaphysical justifications for psychic powers, except for a quickie reference to a "bioplasmic universe." Robin and Gillian also have a more involved reincarnation-connection in the book, although I'd admit this could have been tough to put across in this sort of high-octane film. The neutering of the two main characters removes all of their psychological quirks, and leaves us only with Robin, whose mental deterioration is not that memorable in book or movie.