dougdoepke

(2012-04-28 23:24:27)

Worth a Closer Look

Despite a catch-penny tile, "Try and Get Me" (aka Sound of Fury)remains a truly frightening movie whose disturbing imagery lingers longafter the voice-over reassurances subside. The director, Cy Endfield,was one of the lower profile victims of the Mc Carthy purges. Viewingthis movie now, it's easy to see why. Family man and returning vet Howard Tyler (played by the always low-keyFrank Lovejoy) is recruited into a life of crime by no more thanordinary desires for the American Dream. Desperate and unemployed, hefalls into the clutches of a swaggering stickup man superbly played bya preening Lloyd Bridges. (Notice how subtly Bridges bends Tyler to hiswill on their first meeting at the bowling alley.) Joining Bridges,Tyler finally gets the standing he desires, but the spiral he hasentered dooms him and his family's share of America's promise. (Notethat conspicuous among the lynch mob's vanguard are fraternity boys,true to the actual event on which the movie is based.) Throughout, the lighting and photography effectively undermine thefacile voice of reason that the producers probably felt obligated toinclude. Endfield may have wanted an anti- violence film, but theresulting visual landscape implies a world of endemic violence. A senseof powerlessness pervades the film, one that mere admonishments cannotovercome. As a result, the characters appear caught in some terriblemetaphysical web from which there is no escape. Events marchrelentlessly on to a conclusion that remains one of the most harrowingin Hollywood history. This is film noir at its darkest and mostfrightening. Something should be noted in passing about the compellingly exoticperformance of Katherine Locke as Hazel the manicurist. Watch herfacial expressions as this highly repressed plain-faced womanexperiences yet one more rejection in what a paste-on smile shows to bea lifetime of rejections. Never has a blossom perched so precariouslyon a cheap hairdo conveyed as much lower-class longing as hers, whilethe car ride with a guilt-ridden Tyler could serve as tawdryinspiration for a dozen feminist tracts. What ever became of thisunusual actress, I wonder. Without doubt, however, the film's dramatic high point is the lynchmob. It's one of the most coldly unnerving 20 minutes in movie annals,far surpassing (in my view) the better-known Fury (1936) in itsdepiction of mass violence. The fact that the mob is made up ofordinary citizens brought to fever pitch is especially telling.Unthinking violence is thus shown as potentially present in us all. At the same time, the screenplay refuses to take the easy way out. Infact, Howard and Jerry are guilty, unlike, say, the three unfortunatecowboys in The Oxbow Incident (1943). Thus, what repels us is not thefact that innocent men are killed for a crime they didn't commit. Thatwould be too easy. Instead, I think we're unnerved by how the crowdappears to celebrate the brutality of vigilante justice. Endfieldsucceeds in making this aspect especially ugly. Yes, in a very generalsense, justice is served—murderers are in fact punished for theircrime—but if so, justice is served in a particularly barbaric way evenif the act does have popular support. In my little book, Endfield hasfashioned the most effective of all anti- lynching movies, in partbecause it doesn't take the easy way out.That Endfield exiled himself to England and a conventional career withStanley Baker, shows how much was lost among those purge victims whosedisappearance, unlike many others, went generally unnoticed. Just acouple of years after the remarkable "Try and Get Me" (and Endfield'salso provocative "Underworld Story"), Hollywood began sanitizing thescreen with the escapism of period spectacles, Technicolor westerns,and full-cleavage sex goddesses. Indeed times had changed. As Endfieldalready knew, the studios had to fight the Cold War too. There would beno more thought-provoking Try and Get Me's.

bobj-3

(2012-04-28 04:14:11)

A haunting film, after all these years.

I, too, saw this picture as a child, on television, alone, late at night,and I can still recall the powerful impression it made. Truly frighteningin its revelations of human depravity and mob violence. Lloyd Bridges'bestperformance by far, he is absolutely gripping as the deranged and heartlessmurderer. The scene in which he is in his cell, with the mob breaking intothe prison and coming to get him, is stunning in its power. I haven't seenthe film in a half century, but I still remember thosemoments.

beresfordjd

(2012-04-19 03:10:44)

performances?

Lloyd Bridges always gives good value whether as a complete villain, ashere, or as a hero- remember Sea Hunt? Sea Hunt was my favourite TVseries when I was an impressionable kid. I also loved him in theAirplane movies, showing a real talent for comedy. He is the best thingin this B movie. Most of the other actors I am sure were notprofessionals and Frank Lovejoy was not up to par either and usually Ihave quite liked his performances. I am watching it as I type this andam far from impressed by it - brave treatment of a dark subject or no.The actress who plays the manicurist is close to appallingly bad. Wherewere the razzies when we needed them? I am interested enough to see itthrough ,however, so it cannot be quite as bad as I am painting it.There are lots of film noir movies from this era that were so muchbetter. This could have been superb with a better, more able cast(Lloyd Bridges aside). I think a lot of this was dubbed later so itaffects the acting and atmosphere.

harrisonransom

(2012-04-18 18:05:03)

A Stellar Noir Film with a Message as Strong Today as in 1950

An awesomely powerful look at the divide between social classes in theUS circa 1950 culminating in the transformation of law-abiding citizensinto a violent, blood-thirsty mob bent on taking the law into their ownhands. The mass psychology of mob violence couldn't be betterportrayed. I have no idea how this truly moving film could have falleninto obscurity. It's message that violence never resolves conflict isas painfully current today as it was in 1950. Will we never learn fromthe past? One of the darkest Noir films I've seen. Generates asuccessive waterfall of emotions spanning the spectrum of humanexperiences, needs and drives. Well acted and well worth watching. Veryhighly recommended.

rvbunting-1

(2012-04-17 07:58:47)

Lovejoy and Bridges at their best

This is a true sleeper in the film noir category, because so few peoplesaw it in original distribution. There was a legal dispute caused bythe original title, "Sound of Fury" which some felt was too close toFritz Lang's "Fury" filmed earlier.Much of this picture was filmed in Phoenix, and the old city courthouseis very prominent, with it's beautiful copper doors. A true 'dive'nightclub, the "La Jolla Club" later known as the "Guys and Dolls" wasused for a key scene.Lloyd Bridges showed his wonderful range and capability as a wild-eyedpsycho, and Lovejoy was tragically sympathetic as a tortured regularguy gone terribly wrong. The cast was very strong.This is on a par with any of the noir films of the late 40s-early 50s,and holds up today.Enjoy!

(2012-04-16 17:19:24)

Fearless political noir.

'The Sound of Fury' (a.k.a. 'Try and Get Me') surpasses those three classics of lynch-mob terror - Lang's 'Fury', Wellman's 'The Ox-Bow Incident' and Corman's 'The Intruder' - in its savage melodramatic power; its determination to galvanise its audience; its political integrity (the journalist who influences the mob is a civilised bourgeois cosy with the corrupt elite; with the anti-hero an ex-army prole in a near-Depression small-town, with an immigrant wife), its visual sense of America, its forgotten, anonymous small towns, its bowling alleys, petrol stations, caravan camps. There is one extraordinary sequence, the equal of the bank robbery in 'Gun Crazy' (no higher praise, etc.): we watch a petrol station hold-up through the window behind the getaway driver, the camera held on Frank Lovejoy's nervy, sweaty face, the second drama playing out in miniature. The seamless move from relentless film noir to complex, undogmatic social tract is invigorating.

bux

(2012-04-10 16:54:04)

Still powerfull, after all these years

I saw this movie as a child, and had a chance to see it recently aftermoreyears than I want to admit. I know why it has stuck with me for so manyyears. This is powerful stuff, even by today's standards. Crime,punishment, yellow journalism, it is all addressed in this finely acted,fast paced drama. Bridges(like you've never seen him before!)turns in anacting 'tour de force' as the ego-maniac, demented hoodlum that killswithout reason. Lovejoy is the husband and father caught up in a badperiodof economics, Carlson the reporter that must learn that the power of theword is often as swift and deadly as that of the sword. This is highdrama,done in the classic 50s film-noir tradition, it is must viewing for anyonethat enjoyed "In Cold Blood"(1967)and movies of that genre.

(2012-04-10 06:38:09)

Try to get it

I was searching for this flick for a long time and finally got my hands on it. Let me just say, it was worth the effort. This noir gem stands along side Fritz Lang's "Fury" as the best presentation of mob violence on film. I don't want to give away too much of the plot, but all the crucial elements of prime noir are present: exceptional lighting, imaginative framing, taunt acting and an ending that doesn't compromise. Also of note is Lloyd Bridges. He gives an outstanding performance as a slick hood with big ideas. I just wish they kept the film's original title, "The Sound of Fury." "Try and Get Me!" sounds too much like a romantic comedy. Still, this movie rocks.

(2012-04-02 12:44:08)

Try and Get Me

This film includes some classic noir story lines. The protagonist (Frank Lovejoy) is drawn into a world of petty crime when his search for a blue collar job results in despair,confusion, and rejection. Lovejoy's conscious becomes embroiled in turmoil when the values and convictions of an honest man fall short of providing security for his wife and son. Lovejoy meets a two bit hood in a bowling alley who convinces him that the workingmans' plight is a life filled with nothingness and unfulfilled dreams. They embark on a series of gas station robberies and enjoy the excitement of quick cold cash. Unbeknownest to his wife who thinks that he is working the late shift at a factory, the family settles into a temporary state of middle class bliss. But this is short lived, an eventual murder charge is brought aginst Lovejoy. The film then moves at a rapid pace, where prosecutors, newsmen, women, and victims are woven into Lovejoy's frozen conscious. Lloyd Bridges gives an indelible performance as the maniacal street hood who justifies crime as a means to achieve a higher class in an unforgiven society. The acting, camera work, lighting, and, editing is superb as the two are held and trapped in a town jail where ironically an angry mob seeks entrance and ultimate revenge. This film is a must see for noir enthusiasts. Critics argue that Richard Widmark's performance in Kiss of Death transformed the criminal figure into a warped and brutal character whose proclivity for violence was unrestrained. Lloyd Bridges's performance in Try and Get Me reaffirms this image, albeit, more convincingly.

bob the moo

(2012-04-02 07:28:56)

Strong first half (mainly thanks to Bridges) but the potential in the second half is not delivered on as well as I wanted even if it is still impacting

When Howard Tyler moved his family out west to California, he did notplan for unemployment to push them as close to breaking point as ithas. Down on his luck, Howard is hanging out in a bowling lane when hemeets the charismatic and generous Jerry Slocum. Slocum offers him ajob that will pay really well and Howard gratefully accepts. When helearns that he is the driver in the robbery of a grocery store, he hasmisgivings but none that cannot be drowned out by the relief of havingplenty of money in his pocket for the first time in years. However onething leads to another and it is not long before Howard finds himselfexceeding what he is willing to accept being part of but yet unable toget out.A late night "noir" double bill on channel 4 caused me to stumbleacross this film despite never having heard of it before. Although notstrictly a noir, the film is an effective drama that does rely on the"normal" guy drawn into a destructive world of crime. The plot offerslots of potential in the dark content and is still good even if itdoesn't really deliver on it. The narrative focuses on Howard's descentand I was surprised by morally quite how simplistic it all was.Howard's inability to deal with what he does is straightforward and theclear fate served him by the script is also quite easy. The media playsa part in the shape of journalist Gil Stanton and I hoped this wouldproduce something of real insight but mostly he and other charactersseem to exist to vocalise the moralising part of the script. They domake more of it towards the end but I wanted more in the way ofconsistency.The moralising and simplicity across the film does rather make for aweaker second half but the "descent" is by far the best part of thefilm. In terms of delivery it offers more dramatic scenes but this alsomeans more meat for the actors to work with. Lovejoy's desperation butyet conflict is written across his performance and at its best ispretty good. Unfortunately for him, he is totally in the shadow of areally enjoyable turn from Lloyd Bridges. Bridges is cool, arrogant,angry, slick, vain, violent and unpredictable and he is easily the mostmemorable part of the film. Inexplicable then that the script lets himdisappear for the vast majority of the second half of the film – hisabsence is felt. Carlson tries to be the heart of the later debate buthe cannot do it and comes over quite insincere and simplistic. Ryan,Locke, Jergens and others are so-so.Overall then this is an interesting moral drama that has plenty of goodmoments in the first half and plenty of potential in the second half'smoralising. Bridges and Lovejoy deliver well in the first half. Whileit is a real shame that the second half feels weak, simplistic and nowhere near as intelligent and challenging as I wanted it to be, it isstill pretty dark and interesting for the period and should berecognised for that.

Robert J. Maxwell

(2012-03-28 12:27:31)

Brutal Moralistic Crime Drama

Frank Lovejoy is a veteran who never was sent overseas during the war.He can't find a job to support his wife (Kathleen Ryan) and little boy.Angry, embittered, and perhaps a little guilty, he falls in with badguy Lloyd Bridges who sport platinum cuff links and seems to beenjoying himself all over the little California town. Bridges offersLovejoy a job as his wheel man. Just a couple of minor stick-ups,nothing serious. But the robberies escalate into the kidnapping of acollege boy from a rich family. Bridges, an envious psychopath, killsthe kid out of spite. Both Bridges and Lovejoy are caught and jailedbut several thousand people break into the jail, beat the men, and passthem outside overhead like serving platters where they meet vigilantejustice.I haven't seen it since I was a kid but the memory of that climacticcollective murder still makes me wince.It's impossible to comment on the performances, or on much else forthat matter, after the passage of so many years but unless my brain hasturned to tofu, I'm compelled to recommend the film.It was made at the height of the anti-Red hysteria in Hollywood, a timewhen subliminal pro-communist messages were being read into cinematictrifles. And the advertising campaign that accompanied this releaseseemed almost to goad the audience into mindless mob action. Get in onthe ground floor of the explosive rage for justice! That sort of thing.In other words, hang the Reds.It was completely at odds with the message of the movie itself, whichwas that ordinary guys can get sucked up by circumstances and findthemselves suffering the same fate as those who are truly evil. Oh --and mobs can be dangerous. (If you're a social psychologist, think"risky shift".) Out of all the simple black-and-white crime melodramasthat appeared in the post-war period, this is one of the few that hadme by the lapels.Based on a real incident in 1930s San Jose, California.If it shows up, be sure to catch it.

movman66

(2012-03-27 13:21:25)

Remembering TRY AND GET ME

As others have said.....This movie stays with you....I was 10..probably younger..when I saw it....and I can still recall the feelingin my stomach and aching in my heart. I don't remember much of thedetails of the movie......just the overall feeling I came awaywith....the pain...of something terribly wrong, injustice... I don'tbelieve that it could have been "workmanlike" in any way since Iremember the feelings so strongly.....A "Workmanlike" made film couldnot have made that happen to me...I would really like to see it againas an adult....I hope I can find it on DVD. It's revealing to me that someone else.. as a child.. after so manyyears.. could have come away from the film with the same, exactfeelings. Thanks!