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Download, Watch online The Sound of Fury aka Try and Get Me Movie.
| Genres: | DramaFilm-N |
| Starring: | Richard Carlson, Lloyd Bridges, Harry Shannon, Adele Jergens, Frank Lovejoy, Cliff Clark, Art Smith |
| Director(s): | Cy Endfield |
| Country: | USA |
| Year: | 1950 |
| IMDB Rating: | 7 |
A man down on his luck falls in with a criminal. After a senseless murder, the two are lynched.
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The Sound of Fury aka Try and Get Me (iPod) | Resolution: 480x368 px | Total Size: 323 Mb |
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The Sound of Fury aka Try and Get Me (DivX) | Resolution: 656x496 px | Total Size: 1001 Mb |
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Movie Photos: We have taken some photos of "The Sound of Fury aka Try and Get Me". They represent actual movie quality.
Visitor Reviews: (14)
17 May 2012
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.
jc-osms 16 May 2012
Gritty, multi-themed early 50's crime-drama
Interesting little B-movie thriller, which starts with the theme ofwhat an honest but desperate man will do to help his family survive,moves on to a loaded discussion on sensationalist lurid journalismbefore ending with a damning indictment of mob rule.It's quite a trip and to get us there introduces us to the memorablecharacter played by Lloyd Bridges, a cocky young psychopath whose pettycrimes take along with him on the lure of easy money, unemployed, hardup family man Frank Lovejoy. It's not long though before Bridges' truecharacter comes to light, escalating in no time to a kidnapping andbrutal murder with disastrous outcomes for all concerned.For its time, this is all pretty heady stuff, shown to us in matter offact style by director Endfield with to my mind anyway, little realdeference to noir conventions. The film is a bit slow to get startedbut once Bridges appears, it picks up on his manic energy. Some of theperipheral characters are just a bit too obvious, like the humanistprofessor friend of the sensationalist journalist whose screamingheadlines, the film would have it, egg the local townsfolk to stormingthe jail while said journalist's own realisation of his part in themayhem is also a little laboured but these are counteracted in somemeasure by some effective low-key character acting by Lovejoy andKatherine Locke as the lovelorn girl with whom Bridges sets him up foralibi purposes.The concluding riot scene, (with it seems a lot of university studentsto the fore!) gets the biggest budget and is effectively staged,reminiscent of its predecessor in Lang's classic "Fury", before the bigdownbeat message is double-underlined for us as the credits roll.A very watchable and considering its era, bold movie with interestingcharacters, dealing with big subjects and ending with a thunderingmoral message to boot. Quite a lot to pack in and done pretty well allround, I'd say.
15 May 2012
Just as long as nobody gets hurt.......
The title is weak and the ending is lame with the voice over moral hitting you over the head. There is NO nuance here. Every actor has one note.But, the first half of the film is very entertaining with cool as a cucumber hold up guy [Lloyd Bridges]corrupting weak kneed common man [Frank Lovejoy].This is a sure to lose partnership if there ever was one. Lloyd Bridges is a standout with just the right amount of swagger to make it credible.
rvbunting-1 15 May 2012
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!
movman66 13 May 2012
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!
beresfordjd 12 May 2012
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.
07 May 2012
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.
harrisonransom 07 May 2012
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.
Steve-602 05 May 2012
Rare lynching film based on an all but forgotten true story
A bit preachy in the style of the day but a remarkable film. Theopening is especially strong. Among the interesting touches, the movielynch mob is made up mainly of college students wearing their schoolt-shirts. New York Model Adele Jergens didn't have much of a Hollywoodcareer but she's right on the money in this one. Although the timeframe is post WWII, the story is based on an actual lynching in SanJose, California, in 1933. Reporter Royce Brier of the San FranciscoChronicle won a Pulitzer for his account of the event.CaliforniaGovernor James Rolph Jr. was quoted as saying he would like to turnover all jail inmates serving sentences for kidnapping to the custodyof "those fine patriotic San Jose citizens, who know how to handle sucha situation."
dougdoepke 05 May 2012
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 servedÂmurderers are in fact punished for theircrimeÂbut 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.
bob the moo 01 May 2012
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.
JohnRouseMerriottChard 30 April 2012
Crime Wave In Santa Sierra.
Howard Tyler (Frank Lovejoy) is a good honest family man living inCalifornia who just can't catch a break. Struggling financially andupset that he can't support his family, he falls in with small timehoodlum Jerry Slocum (Lloyd Bridges) who convinces him to join him inrobbing gas stations. However, things start to get out of control asthey kidnap the son of a wealthy family to hold for ransom. But whatfollows will have far reaching consequences for all involved.......Also known as Try And Get Me, The Sound Of Fury is directed by CyEndfield and is based on the novel The Condemned by Jo Pagano (whoalong with Endfield also writes the screenplay here). The story isincredibly based on a factual episode known as the Brooke Hart casethat occurred in 1933 in San Jose, California. Fritz Lang's 1936 filmFury was also loosely based on the same story, which probably explainswhy Endfield's film had a name change to Try And Get Me.A brilliant crime thriller, the film is a damming indictment ofuncontrolled violence in small town Americana. Its themes involvingclass divides, the uncivilization and ignorance of some Americans,moral and social collapse and the irresponsibility's of the press, areall rammed home with force by the soon to be blacklisted director. Bydefinition, Endfield and Pagano have crafted the ultimate socialconscious movie. Filling it with relevance that will last the ages, theundervalued Endfield also come up trumps in mood setting and visualflourishes. This be prime film noir too. Tumbling pebbles, a crimeshown in reflection, our protagonist standing in the dark ruefullylooking out a window, a complete night club sequence shot off kilter,all indelible images that linger long in the memory (Guy Roe onphotography). Then there's the finale, a brutal and shocking endingthat had Raymond Borde & Etienne Chaumenton (A Panorama Of AmericanFilm Noir 1941-1953) proclaiming it to be one of the most brutalsequences in postwar American cinema. They aren't exaggerating, it is,and it caps off a stunning movie.There can be a reasonable argument put forward that the film asks forpity towards the hoodlums of the piece. But that's a confliction thatserves as a call for a deeper thought process with the film. The makersare merely adding drips of fuel to an already incendiary device. HugoFriedhofer provides the music and Kathleen Ryan, Richard Carlson &Katherine Locke fill out the support cast. However, this is Bridges'movie, Lovejoy is excellent as the increasingly fretful Tyler, butBridges goes from smarm to charm with ease and then to crazy psychoticin the blink of an eye, an unnerving character given the treatment bythe big man. Still awaiting a DVD release, any chance you get to seethis film you should grab with both hands. Powerful, intelligent stuff.9/10
ccthemovieman-1 30 April 2012
Try And Get Me!
The subject headline - Try And Get Me! - is the title of the movie, asI know it.Man, this is a different kind of film noir story, mainly because of theending. It centers around two crooks, played by Lloyd Bridges and FrankLovejoy. Of the two, Bridges is the more fun guy to watch. He and hisgirlfriend (played by Adele Jergens) have some very good dialog.Lovejoy and his potential girlfriend have some lines that are so badthey are laughable! It almost reminded me of poor Elisha Cook verballyduking it out with tough-gal Marie Windsor: in other film noirs cornybut fun stuff.This was an entertaining film almost from the start. The last 30minutes are really intense after Lovejoy cracks, stupidly admits hiscrime and is unfairly accosted as the murderer (he was the accomplice,not the murderer.) Then, the townsfolk, fueled by sensationalistjournalism by the local paper, form into a huge lynch mob and storm thejail after the two criminals. The scenes of that, and what happens, arehorrific. I am not exaggerating. In fact, it was one of the mostdisturbing scenes I've ever seen on film, especially for a classicmovie. The cheers from the crowd when they kill the two men (which isnot shown) are downright chilling.The film obviously is a powerful indictment on yellow journalism and ofmob mentality. The last scene was so distasteful that I have neverwanted to watch this movie again!
ionus 29 April 2012
Noir Non-Classic
The only interesting acting in this film is Lloyd Bridges'. The writinganddirecting are workmanlike but the result is uncomfortable to watch andthereis a definite preachiness to some of the speeches (what else can you callthem?). Also, the ending sequences are a bit too reminiscent of FritzLang's"Fury" (1936, starring Spencer Tracy), even though the events turn outdifferently.