"The Fury" is another underrated thriller from Brian DePalma, the "Master of the Macabre" (a title he earned, in my opinion). This film actually owes little to Hitchcock, other than a few directorial touches. DePalma here creates a dazzling original, with superb special effects and strong acting and a solid plot.<br /><br />"The Fury" shares a few similarities with DePalma's previous film "Carrie". It is based on a best seller (by John Farris, who adapted his novel). Both films feature Amy Irving, then a newcomer to films. Both deal with psychics and telekinesis. And both are strong character studies grafted onto a thriller. <br /><br />"The Fury" is a great deal more complicated in terms of the storyline than "Carrie" was. The film stars Kirk Douglas in a strong performance as a government agent whose son (a psychic) was kidnapped. John Cassavetes plays the kidnapper, who happens to be Douglas' partner (all these connections are established within the first 20 minutes, so I'm not spoiling it for you) The bulk of the film deals with Gillian (Amy Irving), another psychic who Douglas enlists to find his son. Over the course of the film, there are a great many surprises and revelations that DePalma just throws at the viewer. But don't worry about being confused. DePalma makes everything clear as it progresses.<br /><br />"The Fury" finds DePalma working with mostly new collaborators, although a few (editor Paul Hirsch and some of the actors)are DePalma veterans. Despite the change, the technical credits are still first rate. The cinematographer is Richard H. Kline, who has shot many different kinds of films (exploitation, Hollywood, independent) and his photography is excellent, with great use of shadows and light. The score is by John Williams (famous for "Jaws", "Star Wars" and many, many Hollywood films) and it is an extremely effective one, but one wonders if Pino Donaggio might have done a better job (especially after his mesmerizing work in "Dressed to Kill", "Carrie" and especially "Blow Out"). But still, I want to say that Williams' score is very good, especially towards the films' climatic moments. And Paul Hirsch's editing accomplishes exactly what it did for "Carrie".<br /><br />The acting is first rate as well. Kirk Douglas gives his usual strong performance and I go on record as saying that he is one of our most overlooked actors. John Cassavetes makes a memorable villain and although this job was most likely for the money (he acted to finance his own films; this job probably financed "Gloria"), he doesn't sleepwalk through his role unlike some actors. Charles Durning returns as another villain, adding to his collection of offbeat and memorable performances (The Muppet Movie added another)and Amy Irving is very good as the psychic who helps Douglas. And if you pay close attention, you'll see Bill Finley in a cameo in the first 12 minutes or so. (And if you pay really close attention, you'll see Jim Belushi)<br /><br />As is the case with most DePalma thrillers, "The Fury" has a wow of an ending. It is probably the greatest of the DePalma endings, one of such satisfaction and plausibility that you won't stop talking about it for hours after the film is over. There is a deliberate pace and some of the middle scenes are sluggish, but fortunately, they don't last long and DePalma gives us our money's worth. "The Fury" is not the best of the DePalma thrillers ("Dressed to Kill" gets my vote), but it is an excellent film that combines intelligence and craftmanship. It is a must see.<br /><br />**** out of 4 stars