I guess something that weighs over 30 tons isn’t all that safe after all.
It’s April 1945 in Nazi Germany, towards the end of WWII and the Allies seem to be kicking all sorts of ass and taking names. So much so, that Adolf Hitler himself has been ordering just about every man, women, and/or child, to get out there on the front lines and fight the good fight. And during all of this, therein lies a tank crew who maintain and work in a big mofo they call “Fury”. The tank sergeant is a man that goes by the name of Wardaddy (Brad Pitt) and just recently, finds himself all torn up over the fact that his second-in-command has just been blown away in the middle of combat. He still has the rest of his crew intact, but this proves to be such a hard hit, that he doesn’t know necessarily how to move on. Well, except all that he and his crew have to do is fight, fight, and fight some more. This time though, they’ll be along for the ride with a newbie by the name of Cobb (Logan Lerman) who nobody really takes a liking to and with good reason: He’s never been on the battlefield before and doesn’t know if he can handle killing other people that haven’t done anything specifically to him. Throughout the next week or so, that may change and Wardaddy will be more than happy to show him why.
There’s something of a plot to be found here in Fury, but honestly, what it all comes down to is “Brad Pitt and a bunch of his fellas go around Germany, shooting and killing people.” While that sounds somewhat repetitive and ultimately, boring, there’s a feeling here that writer/director David Ayer is using it for a whole other reason in particular.
For instance, it’s never made clear to us what exactly the objective here of this story is; usually for a war movie, we understand who is searching for what, why, how they’re going to go about it, and what is going to be accomplished at the end of the day. However, here, the only objective of the plot-line is to fight the war, continue killing the enemy, and try to do so without getting you, or your fellow soldier killed in the process.
In all honesty, that’s more of how the war probably is. there’s no need to save any Private Ryan’s, or even any plan to capture top-level Mogadishu-officials. Here, it’s all about trying to stay alive and killing as many Germans as they possibly can, which is probably just how being in a bloody war is like – hardly ever stopping and always fighting. This is a bold move on Ayer’s part to take, but it’s one that I think needed to be taking, because so rarely is it that we get a war movie that shows us just how screwed up and unforgiving the battlefield truly is, without trying to force a message down our throats. Here, you could say that the moral of the story is, “the war is terrible, and people die.” That’s all Ayer seems to be saying here and I think that’s all that needed to be said.
But of course Ayer takes it a bit of another step forward and actually get to discussing the certain soldiers in the war, by showing us just the type of disturbing affect the war has on them, regardless of how messed-up in the head the individual may be. This is where I think Ayer’s writing is at its best, because rather than glamorizing these soldiers and having them come off as the Nation’s biggest heroes, Ayer has them portrayed as a bunch of guys who had nothing else better to give to society back in the States, other than just sitting around and taking up space. On the battlefield, they have a purpose, they have a cause, and most of all, they have a reason to live. Though we never actually hear a character state this throughout the film, they don’t really have to for us to get the point; in fact, them just stating every so often that being in the war was, “the best job they ever had”, gives us the impression that this is all they have to live for and they’re more than proud to die if they have to. They may be scared, but they’ll at least feel proud to perish because it’s for a reason, even if that reason is for their own well-being.
And though I may make this movie come off as a bit of a melodrama, I can assure you that it’s not; there are moments of pure drama where characters break down, shout their hearts out, and let us know how they feel. However, at the end of the day, it’s a war movie, and because of this, we get plenty of action-sequences with tanks going toe-to-toe with another, people getting shot, stabbed in the face, lit on fire, and most of all, dying. But while these scenes are effective in the most gruesome ways possible, there’s still a feeling that the movie doesn’t know what it wants to say about them – are we supposed to feel bad that countless soldiers on both sides are getting killed? Or are we just supposed to care that way for the American side?
The best example to highlight this problem the movie seems to have with itself is when Cobb, the new blood of this tank group, is ordered by Wardaddy to shoot a German prisoner. Though the German prisoner has surrendered (thus, making it illegal to kill him), Cobb is physically and emotionally manipulated into doing it, even though it is a horrifying act he does not want to partake in. We know it’s not right, he knows it’s not right, but every other character around him (as well as the movie), doesn’t and that’s one of the sole problems with this movie. It doesn’t have enough to say to be an anti-war movie, yet, it doesn’t have enough self-control to not glamorize the violent, sometimes inhumane, acts that occur during the war itself.
Basically, you could write it all down to Ayer not being the best director out there. Sure, as a writer, he’s pretty fine and has shown that he has a knack for writing gritty, raw, and bare human beings who are conscience enough to be considered “realistic”, but as a director, his movies don’t always translate so well. End of Watch was a fine piece that showed he was able to turn the found-footage genre on its head a bit, but that’s about all the praise Ayer gets as a director (his other film released earlier this year, Sabotage, is currently running the gauntlet for being one of my least favorite of the year). That said, while this is probably Ayer’s most accomplished film as director, there’s still signs that what comes out of the pen, doesn’t always translate so well onto the screen, even if the one writing, also happens to be the same individual filming.
Thankfully though, for Ayer at least, he can fall back on the amazing ensemble he has here to ensure that his material will be more than just what’s presented on the surface, and can at least be dissected and looked at a bit more. Brad Pitt, playing a WWII soldier that isn’t collecting Nazi scalps, does a lot as Wardaddy, although it seems like he’s just being his usual-self: Cool, smart, collective, and most of all, masculine as hell. However, there’s more to this character and we get the idea that even though he’s all about defending his country to the very end and do whatever he has to do to protect those around him, at any costs, he still fears the idea of dying, or even worse, a close-one of his meeting the same fate. He’s an emotionally-battered man that disguises it all with orders, commands, and death, but if you look closely, you can see exactly what kind of person he is, and it’s not all that different from you or I.
Except that he looks like this, a sad reality I live with everyday I look in the mirror.
But as good as Pitt is in the lead role, I really have to give a lot of kudos to Logan Lerman, a young talent who is really rising through the ranks and showing us he has what it takes to hang with the big boys. Though Lerman’s character can be classified as “scared, wimp-ish rookie”, Lerman presents us with shades to this character that makes it easy to see why someone as sheepish and kind as he is, would actually totally change into a ruthless, unforgiving killer. It’s actually pretty horrifying if you think about it, and that is why Lerman’s performance is so good: He’s a normal person like you or me, but now it’s time for him to grow up, face the terrible realities of the war, and start shooting that rifle of his.
Though, as good as Lerman and Pitt are, there is a glaring difference between them two, and the attention they get from Ayer, as opposed to the characters played by Michael Peña, Shia LaBeouf and Jon Bernthal, who all seem like types that want to be more than just that, but never get a chance to cause the writing prohibits them from doing so. However, because these three are all good performers, we get a deeper, more effective camaraderie between the whole group that seems to go further than just “war buddies”; they could actually be something of brothers, that just so happen to be connected by the reality of war.
One instance of this is a scene that, for some reason or another, takes place all in real-time and runs for about twenty-five minutes. It starts with Wardaddy and Cobb going into a random German woman’s home, having dinner and sex, but turns into something darker and tense once the rest of the group shows up. This is a great scene because it not only shows the restraint in Ayer’s sometimes confused direction, but actually allows all of these guys to just act with one another, in one scene, one location, and uninterrupted. In this scene, we get to understand who all of these fellas are, why they stick up for one another when they have to, and why they all love each other, in the most non-sexual way possible. It’s probably the most memorable scene of the movie, which is probably a testament to the cast, especially when you consider how much blood, guts, bullets and steel are flying around.
Consensus: Maybe not the deepest war movie ever made, Fury doesn’t know where it stands on certain ideas, but is still well-acted by its highly-capable cast and displays a growing talent in David Ayer as a director, even if there is some room for improvement to be made.
8 / 10 = Matinee!!
Photo’s Credit to: Goggle Images