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The Fury
Album Cover Art
1990 Varèse
2002 Varèse
Album 2 Cover Art
2013 La-La Land
Album 3 Cover Art
Composed, Conducted, and Produced by:

Orchestrated by:
Herbert Spencer

Expanded Albums Produced by:
Nick Redman
Robert Townson
Mike Matessino

Re-Recording Peformed by:
The London Symphony Orchestra
Labels Icon
Varèse Sarabande
(April 25th, 1990)

Varèse Sarabande
(July, 2002)

La-La Land Records
(February 26th, 2013)
Availability Icon
The 1990 Varèse Sarabande album is a regular U.S. release, but was long out of print later in the decade. An identical album on the Alhambra label (Alhambra #A8914) was also released at the time (with a red border around a similar cover).

The 2002 Varèse Sarabande 2-CD set was a "Limited Collector's Edition" of 3,000 copies and was available only through the label's site or online soundtrack specialty outlets. It sold out within a few years of release, escalating to over $80 in value.

The expanded 2013 La-La Land Records product is limited to 3,500 copies and available primarily through soundtrack specialty outlets for an initial price of $30.
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Decorative Nonsense
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   Availability | Viewer Ratings | Comments | Audio & Track Listings | Notes
Buy it... if you seek a relatively obscure gem in the ranks of John Williams' fully symphonic expressions of brute force, not to mention some very keen adaptations of Bernard Herrmann's most challenging styles into a more accessible form.

Avoid it... on the 2013 La-La Land album if you are content with the sound quality and presentation of the 2002 Varèse product, for the additional remastering and supplemental bonus cues on the later set are not significant improvements to this melodramatic listening experience.
Review Icon
WRITTEN 3/21/03, REVISED 3/17/13
The Fury: (John Williams) The period of the middle to late 1970's ushered in a heightened popularity for religious, paranormal, and telekinetic horror films. It was perhaps the natural progression away from Irwin Allen's straight forward natural disaster epics, which were on a steep decline by the end of the decade. After the immensely popular, sequel-spawning classics of The Exorcist and The Omen, director Brian DePalma followed with another outlandish, head-spinning tale, The Fury. The plot of John Farris' self-adapted story continued the fad of these kinds of supernatural tales down the path of absurdity, as the concepts continued to stretch all reasonable lines of logic in search of renewed audience acceptance. The Fury in particular represented nearly the end of this genre at the time, proving that despite an impressive cast of young and old stars, audiences had seen enough people tortured by the mental will of another person. That said, few viewers can deny that the classic, conclusive scene of the film, in which Amy Irving uses her supernatural abilities to literally blow up John Cassavetes from the inside, isn't at least morbidly entertaining. At a time when pop culture action flicks made a habit of showing the same buildings and vehicles explode over and over again from ten different angles, the idea of using that technique for a nasty, not-so-spontaneous human combustion, complete with gallons of fake blood and a head that pops up like a cork, yielded a fittingly ridiculous conclusion to the movie. DePalma himself had directed the Hitchcock-inspired film Obsession a few years earlier and had the pleasure of employing the great Bernard Herrmann for the project's score. While Herrmann's talents would have been perfect for The Fury, he had unfortunately just passed away at the time, leaving a void in the composing industry for a new master horror artist to fill. In between his assignments to Close Encounters of the Third Kind and Superman and living in the limelight of Star Wars from the previous year, John Williams enjoyed some lucky coincidences which ultimately led to a very emphatic offer from DePalma for his involvement in the film. Both men realized that the score would exist in the shadow of Herrmann's ghostly presence, especially with DePalma's insistence that the former maestro's style be explicitly integrated into Williams' music for the picture.

Ratings Icon
Average: 3.54 Stars
***** 133 5 Stars
**** 163 4 Stars
*** 124 3 Stars
** 59 2 Stars
* 42 1 Stars
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Greg - July 26, 2004, at 2:10 p.m.
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Track Listings Icon
Audio Samples   ▼
1990 Varèse Sarabande Album Tracks   ▼Total Time: 43:38
• 1. Main Title (3:12)
• 2. For Gillian (2:42)
• 3. Vision on the Stairs (4:09)
• 4. Hester's Theme and the House (4:35)
• 5. Gillian's Escape (6:14)
• 6. The Search for Robin (2:42)
• 7. Death on the Carousel (original version)* (2:51)
• 8. Gillian's Vision (4:02)
• 9. Death on the Carousel and End Titles (8:28)
• 10. Epilogue ** (4:37)
* original recording not featured on the Arista LP album
** not featured in the film
2002 Varèse Sarabande Album Tracks   ▼Total Time: 95:55
2013 La-La Album Tracks   ▼Total Time: 130:54

Notes Icon
Several versions of the cue "Death on the Carousel" exist, with all of them presented on the 2013 set. The 1990 Varèse Sarabande album insert includes a detailed note about the film and score. The expanded, limited edition Varèse Sarabande and La-La Land sets feature the labels' usual in-depth analysis of the score and film.
Copyright © 2003-2015, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the site may not be published, broadcast, rewritten
or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. All artwork and sound clips from The Fury are Copyright © 1990, 2002, 2013, Varèse Sarabande, Varèse Sarabande, La-La Land Records and cannot be redistributed without the label's expressed written consent. Page created 3/21/03 and last updated 3/17/13.
One of my earliest memories of cinema was the scene in which John Cassavetes explodes at the end of this film; it gave me nightmares for years as a child before I learned to laugh hysterically at it as a teenager.
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