as Franchette Gwen Lee as Mrs. Fred Garrett (uncredited) Frederick Burton as Judge Daniel Hopkins (uncredited) The part of Wilson's dog Rainbow was played by Terry, the same Cairn Terrier who played Toto in The Wizard of Oz. Development Norman Krasna was inspired to write the story after reading about a lynching in The Nation. He pitched the idea to Samuel Marx and Joseph L. Mankiewicz at MGM, who were attracted to it. Krasna claimed that he did not write a script; he verbally pitched it to Mankiewicz, who then dictated it. Multiple changes were made from Krasna's story to the final script. Fury was Lang's first American film, and is considered by critics to have been compromised by the studio, which forced Lang to tack on a reconciliation between Tracy's character and his girlfriend at the end. The film was a major departure for MGM, known for its lavish musicals and glitzy dramas; the expensive production features expansive and stylized sets to create its gritty world, and its style is more in keeping with the social-issue films associated with Warner Bros., such as I Am a Fugitive from a Chain Gang. Lang originally wanted to make a film about a black victim of a lynching, but the idea was rejected by MGM. The kiss scene at the end, a typical Hollywood "happy ending," was appended because the production manager insisted. Lang, who credited himself with changing the protagonist from a lawyer to a mechanic, also said that he wanted to reveal that the protagonist had committed the murder. Reception The film received an Academy Award nomination for Best Writing, Original Story. Frank Nugent, in a review for The New York Times, praised it as "[a] mature, sober and penetrating investigation of a national blight." Writing for The Spectator in 1936, Graham Greene strongly praised the film, describing it as "the only film I know to which I have wanted to attach the epithet of 'great'." Expressing his view that the film completely conveyed the "sense of spiritual integrity ... by sound and image better than by any other medium," Greene drew particular attention to the contributions of Sylvia Sidney: "[S]he has never more deeply conveyed the pain and inarticulacy of tenderness ... no other director has got so completely the measure of his medium, is so consistently awake to the counterpoint of sound and image." In 1995, the film