Why haven’t there been more tank movies? We have a slew of war films in all shapes and sizes and yet there are hardly any movies from the unique point of view of the battle-tested tank crew. Perhaps it’s the claustrophobic shooting conditions and limited breathing room, but then both of those are usually assets to the submarine sub-genre, and we got plenty of movies set primarily in less-than-spacious submarine quarters. Maybe it’s the sheer cost, since a submarine can be replicated with a model and a tank requires its own onset crew just to get exterior shots. Then there’s the issue of just watching close-ups of people looking through telescopes, squinting, and pulling triggers. I don’t really have a working hypothesis to explain the paucity of tank movies from Hollywood but now there’s at least one mainstream effort on the big board.
Fury follows the brave men of the titular tank that’s traveled from Northern Africa to France and now Germany in the dwindling days of World War II. Norman (Logan Lerman) is the new guy, replacing a fallen comrade on Don “Wardaddy” Collier’s (Brad Pitt) crew. The average life expectancy on a tank was only a handful of missions, but under Collier’s leadership his squad has defied the odds. Now the presence of a rookie puts all their lives in danger especially so close to the end of the war.
Writer/director David Ayer (End of Watch, Sabotage) delivers a meat-and-potatoes kind of war film, a movie that knows what it’s doing and how to satisfy its audience but rarely steps outside of this mission to resonate further. There’s a requisite pathos and air of contemplation to the proceedings, especially with the conflict of Norman’s innate goodness getting in the way of killing soldiers, armed and unarmed, in the line of duty. What does it take to be a soldier? Can you still recover as a man or does one have to shut off those elements of concern, the quibbles over moral actions that would otherwise haunt. In one sense, it’s a little contrived that the new recruit has to be so green to the battlefield that everything needs to be taught to him including the us vs. them mentality of war. On the other hand, it provides an ongoing source of conflict that leads to some striking moments, like when Collier literally forces Norman’s hand to get him his first kill. Much like Saving Private Ryan once it settles down, the movie progresses as a series of vignettes that showcase a variety of consequences and realities of the war. Naturally some are more engaging than others, but for the majority Fury holds your attention nicely. Ayer’s direction of action is astute and a tank-on-tank battle is wondrously taut thanks to the stubborn and fascinating tactics of tank warfare. I just don’t know how all these guys can make out whose order is for whom with all the other noise going on.
It’s during the concluding act where the movie abandons most of its sense of realism to completely double down on exaggerated action movie heroics, and it’s unnecessary. Beforehand, we’ve been treated to this crew and their town-by-town escapades, watching them come together but also watching them deal with the vagaries and lasting traumas of war. And then it suddenly shifts gears and becomes a last stand movie where our small crew in one immobile tank has to take on, literally, 300 Nazi soldiers. Ayer makes a specific point of clarifying them as Nazi S.S. men and not your casual German soldier. Pitt and company all decide to stay and fight valiantly rather than hide, and so we’re treated to their preparations for what is sure to be an Alamo in a tank. It then just becomes a rote action movie where they fire into the smoke, more Germans keep coming, and we just patiently watch them run through their last remaining desperate options for defense. Ayer doesn’t falter with his depiction of the action or the logical nature of his plot beats, though I don’t know why they didn’t keep more of the gun ammo in the tank. There’s a repetition and expectation of casualties with this section, perhaps intended to magnify their sacrifice and heroism but it feels too forced. The movie was working perfectly fine prior to this new shift in tone. Now we have Germans that are plainly idiotic, with poor marksmanship, and who can’t just wait out the tank. They have rocket-propelled weapons and the tank only shoots in one direction. The ending action assault still works as an entertaining barrage of blood and violence, but if you were liking Fury for what it was then be prepared to be a little disappointed.
What really hooked me with the film was an extended sequence that doesn’t even involve the tank at all. Stopping to regroup with their company in a small, bombed-out German town, Collier and Norman enter the home of two women, Irma and Emma. Initially the scene plays out like they’re scouting for any hiding soldiers, so there’s an initial carryover of tension. Then the gentlemen stay and the scene transforms organically into something more interesting. The scene is allowed to linger, and we see a different side of Pitt’s tank captain. The women set up a dinner and there’s a moment of reserved calm. Norman and the youngest German woman get some privacy, much to the knowing approval of the other two older adults in the room. Then just as their little scene has reached serving time, the other members of the tank storm the room, drunk and confused. They came seeking to deflower Norman with an ugly prostitute they each had a turn with. Their eyes settle on the young, much prettier women, the food about to be served, and you can feel the resentment starting to build, the old conflicts and tensions sneaking back into the scene, particularly a sneering Jon Bernthal (Wolf of Wall Street), who relishes being hostile. You don’t know where this is going to go. Are they going to make a fuss? Will they mistreat the German civilians, maybe even assault them, and if so how will Collier and Norman respond? What will they say about the appearance of preference with these civilians than with their tank company? How far will this go? I am not kidding when I say that for a movie with plenty of war violence, this was the tensest scene in all of Fury. It plays out so naturally, leisurely, but every moment pushing forward and building in tension. It’s a shame then how Ayer decides to conclude this entire episode, glibly turning these women from characters into a cheap plot device. Until then, though, it’s a 12-minute oasis from the genre machinery of war movies.
The other aspect where Fury falters is when it comes to fleshing out the characters in that dangerous tin can. With war movies the characterization can often get lost in the shuffle of violence and messages, so there’s something of a sliding scale; if you can get one good sequence, perhaps one solid insight into a character that opens them up as more than “Hispanic Gunner” or “Vaguely Southern Religious Marksman” then you call yourself fortunate. The characters don’t stray far from their archetypical orbits: the rookie, the hotheaded one, the Bible-quoting philosopher, the commander who hides his fear and… the Hispanic Gunner (sorry Michael Pena). The assembled actors do fine work with what they’re given, but so much of the part is reactionary to off-screen, out-of-the-tank action. Pitt (World War Z) has a stolid clam that commands leadership but boy does his character lack a personality. He’s just settled into that authority figure role. Shia LaBeouf (Nymphomaniac) gives a performance with enough edge, the emotions just peaking through during key moments, to leave you wanting more, both from the character and the actor. Lerman (Perks of Being a Wallflower) is suitably wide-eyed and out of his element early, finding his requisite spine and becoming a “man” over the course of the film. It works as a point of view entry into this world though his character can come across as naive and then later also unjustly criticized. After two hours with this crew, you won’t be fighting back too many emotions as they make their last stand and their numbers dwindle.
Fury is a fairly gritty, bloody, and sturdily entertaining World War II action thriller that is unwaveringly serious for a solid two acts until an all-out assault into over-the-top action movie land for its final, admittedly enjoyable, conclusion. It decides to just skimp out on the characterization so as to spend more time pumping up the virtues of tone and action. The film never bored me, and during stretches it was riveting with suspense and a gritty realism, all before retreating back to archetypes and Hollywood standoffs. For long stretches it’s a series of vignettes but there are moments that rise above, which cut through the carnage and stay with you. Ayer’s direction of action is rather impressive and this is easily the finest work behind the camera for the famous screenwriter. In many ways, Fury is a no-nonsense throwback to World War II war movies, with a similar no-nonsense pack of characters. An older audience will definitely find the movie appealing. It does more than enough well to recommend but just don’t expect the next Saving Private Ryan in terms of lasting impact. Still, give me more tank movies, Hollywood.
Nate’s Grade: B