Blind Fury (1989)

Blind Fury Poster

Tagline: He may be blind, but he don’t need no dog.

Director: Phillip Noyce

Writers: Ryôzô Kasahara, Charles Robert Carner

Starring: Rutger Hauer, Terry O’Quinn, Brandon Call, Noble Willingham, Lisa Blount, Nick Cassavetes, Rick Overton, Randall ‘Tex’ Cobb, Charles Cooper, Meg Foster, Shô Kosugi, Paul James Vasquez, Julia Gonzalez, Woody Watson, Alex Morris, Mark Fickert, Weasel Forshaw, Roy Morgan, Tim Mateer

18 | 1h 26min | Action, Comedy

Budget: $10,000,000 (estimated)


Review

Rutger Hauer is a very unique talent.

Not only did he dazzle with his famous ad-libbed monologue as the queerly sympathetic Roy Batty in Ridley Scott’s Blade Runner, he scared the living crap out of us as the psychotic John Ryder in The Hitcher. A few years later he starred in Blind Fury, the kind of tongue-in-cheek action extravaganza most associated with the likes of Arnold Schwarzenegger, and he did a mighty fine job of it too, slipping into the role with the kind of infectious zest you never would have imagined.

Most actors of Hauer’s pedigree would probably have given the movie a rather wide birth. While later years would see the likes of Liam Neeson taking up the action mantle and reinventing himself to some fanfare, the ’80’s gave us action movies which were relatively low-tech, with trite stereotypes and ludicrous scenarios that would crumble under the weight of any serious, post-Bourne-analysis. But Hauer doesn’t see the genre as beneath him; he embraces it, and his casting as the marquee attraction gives the movie a unique pedigree.

Blind Fury Parker's gift was somewhat misjudged

Shopping for gifts just wasn’t Parker’s strong point.

A variation on the Japanese chambara film Zatoichi Challenged, Blind Fury is essentially a road movie that throws in a whole bunch of action ingredients to get the testosterone pumping. The film’s sense of irony is just as palpable. Not content with a simple buddy formula, we have Cannonball Run car chases, Vietnam flashbacks, and even a special appearance from martial arts expert and Cannon go-to ninja Shô Kosugi, whose legendary B-Movie status provides the self-mocking cherry,  just in case the film’s audacious premise wasn’t enough in itself.

Nick Parker (Hauer) is a soldier blinded during the Vietnam war and taken under the wing of a local peasant community. Thanks to a series of increasingly ludicrous wigs and false beards, we realise that he has been a guest of theirs for quite some time, a period that sees him transformed from a sightless dunderhead into an extra-sensory warrior who can slice melons mid-flight.

Blind Fury preoccupied

Rutger Hauer seems somewhat distracted while battling martial arts legend Shô Kosugi.

Twenty years later and Parker returns to Miami looking younger than ever. We are led to believe that he is there to visit an old war buddy, and although this is technically true, we find out that his reasons for doing so are quite irregular for a genre of such trite predictability, setting the tone for a movie which delights in taking archetypal templates and giving them a fresh and rewarding twist.

Upon meeting the now-estranged family of the seemingly selfish Frank Devereaux (Terry O’Quinn), Parker plays witness to the murder of his buddy’s ex-wife and promises to protect her son from the pursuing pack. Quite the stretch for a blind man, but our hero has a mystical air bordering on the superhuman, the kind that would give Commando‘s John Matrix a run for his money. Carrying a cane which doubles as a nifty samurai sword, Parker is a cross between Marvel superhero Daredevil and Kung-Fu’s prescient warrior, Caine  – if that character were to walk around in sneakers listening to a Walkman. 

Blind Fury death came as a surprise

Death came as something of a surprise.

Contrary to similar movies of this ilk, Parker and his peewee passenger refuse to share a sympathetic relationship from the offset. Like most kids hitting puberty, Billy is a petulant know-it-all who takes advantage of his protector’s ailment by playing tricks on him, and in response our spiritual protagonist descends to his level, partaking in a bout of puerile one-upmanship that threatens to turn nasty.

Thanks to Hauer’s irresistible turn as the visually-impaired assassin, this is B-Movie schlock with mainstream pedigree, blessed by a screenplay that rarely descends into mawkish territory, and which maintains the kind of comic book charm that makes the violence palatable. It also benefits from wonderful casting in the form of Noble Willinghams’ dastardly crook, McReady, while Randall Cobb’s hulking henchman, Slag, provides the perfect foil for our wily warrior.

Hauer would discuss the difficulties of combining swordplay and sightlessness in a role that would prove to be one of his biggest challenges, calling on the real-life experience of Lynn Manning, an actor left blind after being shot in the face in a Hollywood bar.



Best Kill

Moments after disposing of Sho Kosugi’s Japanese import in an electrified hot tub, Parker finally comes face-to-face with unrelenting henchman, Slag, slicing him clean in half and sending his two parts plummeting hundreds of feet through the window of a mountainous ski resort.

Most Absurd Moment

After stepping on the glasses of driver Annie (Lisa Blount), the even blinder Parker gets behind the wheel of a truck and heads their highway-bound getaway as his peewee accomplice navigates.

Most Ludicrous Feat of Hearing

When a corrupt roulette croupier switches roulette balls, a listening Parker slices the electronic cheating device concealed in his waistcoat, ripping out the wheel with the tip of his sword and exposing the scam to a casino of disgruntled punters.

Most Absurd Dialogue

Slicing the eyebrows clean off the face of a belligerent lickspittle, Parker offers to go one further.

Parker: I also do circumcisions.

Yikes!


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rtape rtape rtape rtape rtape

A seemingly by-the-numbers genre film that proves anything but, Blind Fury maintains those elements that action aficionados thrive on, but what sets it apart is Hauer’s willingness to embrace a role that proves something of a departure.

Cedric Smarts




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