I am mystified why Brian DePalma’s The Fury (based on the novel by John Farris) hasn’t been remade because not only would the movie benefit from a more timely interpretation (in these days of government programs we often don’t completely understand, but fear a reboot could potentially find a very receptive audience) and a more modern esthetic.
Which isn’t to imply that it’s a bad movie, only that it appears, especially visually, dated.
What I imagine is a welcome thing is that–unlike in many reboots–younger actors would actually fit the story. In fact, based on the dialogue, I get the feeling that Andrew Stevens (Robin Sandza) and Amy Irving (Gillian Belllaver) were older than the characters in Farris’ novel and screenplay).
The movie revolves around the agents of an undisclosed government agency–in the vein of the CIA or NSA–that seeks out telepaths to use as weapons.
Loyalty apparently isn’t particularly strong among this group because Peter Sandza (Kirk Douglas) is betrayed by his best friend, Ben Childress (played by Ben Cassavettes)–which is oddly close to ‘childless,’ apropos considering what he does in the movie when he learns that his best friend’s son, Robin, has telekinetic abilities.
What’s particularly interesting about the movie is that in the third act Childress blows up in all its gory glory–three years before David Cronenberg’s groundbreaking Scanners (coincidentally I assume)–which is very similar from a story point of view.
Besides the direction by Brian DePalma, the score’s by John Williams, and if all you’ve heard of his work is from Star Wars, Indiana Jones or Close Encounters of the Third Kind, The Fury is worth watching to hear some of his earlier work, which is tonally different from what most are accustomed to hearing from him.
I found it at times reminiscent of Elmer Bernstein’s work composing the music for Saturn 3, though perhaps not as experimental.