Editing Fury (1936 film) (section)

==Development==
[[Norman Krasna]] was inspired to write the story after reading about a lynching in ''[[The Nation]]''. He pitched the idea to [[Samuel Marx]] and [[Joseph L. Mankiewicz]] at Metro-Goldwyn-Mayer, who were attracted to it. Krasna claimed that he did not write a script; he verbally pitched it to Mankiewicz, who then dictated it.<ref name="pat">McGilligan, Patrick, "Norman Krasna: The Woolworth's Touch", ''Backstory: Interviews with Screenwriters of Hollywood's Golden Age'', University of California Press,1986 pp. 218–219</ref> Multiple changes were made from Krasna's story to the final script.<ref>Skolsky, Sidney. "Hollywood". ''The Washington Post'' (1923–1954) Washington, D.C. June 8, 1936: 14.</ref>

''Fury'' was Lang's first American film, and is considered by critics to have been compromised by the studio, which forced Lang to tack on a reconciliation between Tracy's character and his girlfriend at the end. The film was a departure for MGM, known for its lavish musicals and glitzy dramas; the expensive production features expansive and stylized sets to create its gritty world, and its style is in keeping with the social-issue films often associated with [[Warner Bros.]], such as ''[[I Am a Fugitive from a Chain Gang]]''.<ref>[[Bogdanovich, Peter]] (2005). Audio commentary for ''Fury'', Warner Bros. Home Video.</ref>

Lang originally wanted to make a film about a black victim of a lynching, but the idea was rejected by MGM.<ref>[[David Thomson (film critic)|Thomson, David]] (2008), ''"Have You Seen...?": A Personal Introduction to 1,000 Films''; [[New York City|New York]]: [[Alfred A. Knopf]], pg 316.</ref> The kiss scene at the end, a typical Hollywood "happy ending," was appended because the production manager insisted. Lang, who credited himself with changing the protagonist from a lawyer to a mechanic, also said that he wanted to reveal that the protagonist had committed the murder.<ref>[https://books.google.com/books?id=deq3xI8OmCkC&pg=PT246 Essay] by Daniel Eagan in ''America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry'', A&C Black, 2010 {{ISBN|0826429777}}, pp. 246–247</ref>