Fury is
one of the most profound films I have seen in a very long time. In my opinion,
it should have been honored with at least one Oscar nomination this year, but
sadly, it was overlooked by the Academy.
Written and directed by David Ayer (of Training
Day fame), Fury is a bonafide faith-based film due to its cleverly placed scripture references as well as its
timeless theme of sin and redemption. Set during WWII, the movie marvelously displays the horrors of war
beyond the typical clichés of bloodshed, torture, and fierce battle. The viewer
gets plenty of that to last a lifetime, but there is something else the film
delivers: a man of faith who callously commits the most gruesome acts, and with
the same bravado, makes the ultimate sacrifice to preserve the innocence of
another. This is very rare to see in a God-glorifying film. Unlike the
saccharine-sweet or on-the-nose Christian movies that have become standard for
the faith-based audience, Fury
delivers a message of true, raw faith in the almighty God. Jesus isn’t emphasized,
but nevertheless, the power of believing is exalted superbly. As my husband
said upon returning from the theater, “They got it right.” Mr. Ayer and his
team should be very proud of this accomplishment.
The star is Brad Pitt, whose performance as Sgt. Don "Wardaddy"
Collier, has solidified his transition from pretty-boy actor to premiere
Hollywood royalty. His position as an A-list talent is indisputable, but to be
honest, many of us who fell in love with him in Thelma and Louise and Legends
of the Fall, can’t help but see past the gorgeous exterior. While it is
impossible for the man to look anything other than handsome, in this film, he
was able to transcend that persona into the complex, conflicted character whose
calloused heart makes him almost ugly. Almost…
Set in Germany during the last days of WWII, the viewer must take a deep breath
and prepare for the ultimate in gore. I don’t think I have ever seen a war
movie this graphic, and I have seen most of them, even though they aren’t my
favorite genre. But since the men in my family insisted I give it a shot, I
relented, thinking that at the very least, I could rest my eyes on the bodacious
Mr. Pitt for a couple of hours. Thankfully, at the opening credits, the allure
of Brad washed away and Sgt. Collier aka Wardaddy came alive.
Most of the film takes place in a beat-up, five-man Sherman tank plowing
through Germany on the Allied Army’s march to Berlin. Other than the
concentration camps, the horrors of the Nazi regime are felt: destruction and
dead body parts everywhere, women prostituting themselves, children being
forced to fight and kill, and then the public hanging of those who refused.
Wardaddy, a seasoned commander, sports a perfectly coiffed crew cut and
maintains the outer dignity of a hardened soldier, and yet there are glimpses
here and there of a crack in his armor. Most notably is his quick and gruesome
execution of the Nazi commandant who used ruthless recruiting tactics on German
children. Immediately, the viewer understands that our antihero has a respect
for the innocent, which is a theme that plays out through the entire film.
Despite
the gore, Wardaddy and his three surviving tank members laugh and guffaw like
the blood-brothers they are, having been together since North Africa. First
there is the Bible-quoting gunner named Bible (Shia LaBeouf), the wise-cracking
lead driver, Gordo (Michael Peña) and the foul-mouthed, grotesque mechanic,
Coon-Ass (Jon Berenthal). Cocky and mean, they are a ruthless bunch with no
intention of being taken down this late in the war. Enter the new man to
replace the fifth spot, Norman Ellison (Logan Lerman), who is an
adorable, innocent typist with no spine at all to shoot and kill. Wardaddy and his
men quickly realize Norman must be indoctrinated into the rules of battle if
they are to survive.
****
SPOILER ALERT ****
When
Norman’s reluctance to shoot his weapon puts the other men at risk, Wardaddy’s
patience snaps and his dark side emerges with a vengeance. In a disturbing and
sickening scene, Wardaddy forces Norman to murder a Nazi soldier as he begs for
his life. Like a ruthless tyrant deflowering a virgin, Wardaddy places Norman’s
hand on the pistol as an all-out struggle ensues between good and evil. Norman
fights desperately for his innocence, but the ravages of war win out and the
Nazi is killed. Wardaddy and his men discount Norman’s grief, glad he has gone
from being a wide-eyed boy to a violated man.
The
viewer is horrified, and yet one realizes that Wardaddy is just doing his job
in the best way he knows how. In Wardaddy’s world, keeping his men alive is paramount
over everything else, and the methods used to achieve that end are justified,
regardless of their brutality.
Wardaddy’s
complexity is further revealed when the men arrive at a ransacked village and
have an encounter with two German women (Anamaria Marinca and
Alicia von Rittberg). He takes Norman with him to their flat, using this
opportunity to make amends for the Nazi-killing incident. Set on completing
Norman’s transformation into a man, Wardaddy proffers the younger of the two
women, insisting Norman take the girl to bed and seal the fate of his mangled virginity.
Norman complies, but the tryst is one of romance and a soul connection, not
rape. This pleases Wardaddy, even though the rules of war dictate that one does
not fall in love with German girls.
There
is quite a bit of mystery in this scene, especially when the other men show up.
The viewer isn’t sure if Wardaddy will take on the role of guardian and
protector of what Norman and this German girl have experienced or if he will
give in to being a maniacal monster. Fortunately, he protects her from the
other men, revealing another crack in his armor. The viewer realizes Wardaddy has
a heart, and that he isn’t so evil after all.
But
alas, a bomb attacks the village and the women are killed, which is more of a
crushing blow to Norman than the murder of the Nazi soldier. Angry and
hardened, Norman wastes no time firing his weapon on any and everything that
moves. Despite Wardaddy’s pride in Norman becoming a true soldier, there is a
sense that his softer side grieves over the loss of the innocent boy.
The
climax builds to an exciting battle where the five men take on over three
hundred SS soldiers. Wardaddy stands his ground, inflicting much damage to the
Germans, but he knows the odds are stacked against them. There is a wonderful
moment where the men realize they are about to die: Bible quotes a scripture
from the Old Testament, acknowledging his purpose in fulfilling God’s will for
his life. Wardaddy identifies the scripture as coming from the book of Isaiah, shocking
the other men with his Biblical knowledge. It is proof that this hardened man
of war is actually a person of true faith.
The
final death scene is profound, with Wardaddy sacrificing himself to ensure
Norman’s escape. As a young Nazi soldier stares into Norman’s frightened eyes,
we see a pair of innocent hearts both desiring peace even though they are sworn
enemies on opposite sides of the battlefield. After a long hesitation, the Nazi
moves away, letting Norman scamper into the woods to safety. Of all the men to
escape, it is the pure, undefiled Norman who will live on after the chaos and
destruction cease. The viewer senses this is exactly what Wardaddy would have
wanted.
Fury is
great storytelling, with a complexity that exceeds the normal entertainment
palette of the average American moviegoer. Essentially, this film is gourmet to
the fast food fare that typically floods the box office every week. My kind of
movie!
Ignore the other reviews out there that aren’t
so kind; those reviewers are blind to the subtle and beautifully crafted
message in this wonderful story. Again, Mr.
Ayers, the actors, and film making crew should be commended for this terrific accomplishment!
