Akt der Gewalt

Neither Van Heflin or Robert Ryan were ever considered matinée idols or big box office draws. But both men were consummate professionals who could cast well in a variety of roles. I think that Act Of Violence could have worked just as well if they had played each other's parts.

MGM was a studio that did not do noir films very often, but in this case with Fred Zinnemann directing they did this one very well. No cops or private eyes in this one, both men are your average American of 1948. One has done a terrible wrong to the other and the other is seeking revenge.

Heflin is a former pilot who was shot down over Germany during World War II and Ryan was his bombardier. They both did time in a POW camp where Heflin informed on escape plans that Ryan and others made. No one survived but Ryan and he now walks with a limp, courtesy of Nazi machine gunners.

In civilian life Heflin is now a very successful contractor and when he hears Ryan is looking for him, he gets naturally rattled which concerns his wife Janet Leigh. Heflin who was not going to go to a convention in Los Angeles now changes his mind abruptly, but not before explaining to Leigh the reason for his fear. It's more fear of being exposed than for his life.

In Los Angeles Heflin who won his Oscar for Johnny Eager playing an alcoholic borrows a bit from that role as he ends up in a waterfront dive pouring his troubles out to some lowlifes played by Mary Astor, Taylor Holmes, and Berry Kroeger. Holmes is also drawing a bit from a previous role as a shyster lawyer in Kiss Of Death as he's playing the same kind of character in seedier circumstances. In fact Holmes's character says he is an attorney. I know Fred Zinnemann must have seen Kiss Of Death and cast Holmes as a result of that.

The climax might not be what you think, but in a way it's a fitting ending to the story. Though they get good support from the rest of the cast Heflin and Ryan dominate the story though they have no scenes together until the end. Act Of Violence is a noir classic and fans of Heflin and Ryan should list it among their best performances.

This grim look a couple of demobbed soldiers continuing their private war at home rarely get mentioned in lists of essential noirs; maybe, upon release in 1949, it was just a little too close for comfort -- hinting a truths the victorious American public were unwilling to acknowledge. If so, the film has yet to be rediscovered --or reappraised. Van Heflin is living out the modest American dream in sunny California when into his life strides an old combat buddy, Robert Ryan (at his most menacing, which is nothing to sneeze at). To his wife's (Janet Leigh's) consternation, Heflin takes it on the lam, and slowly we learned what happened, or may have happened, over in a POW camp in the European Theater of War. As Heflin's flight takes him into seedier and more sinister surroundings, he links up with Mary Astor, living on the vague border of prostitution. (After helping to launch the cycle with her spectacular turn as Brigid O'Shaugnessey in The Maltese Falcon, Astor appeared in disappointingly few film noir; her expert performance here makes one wonder why, why, why?) Though the script opts for a strange and bitter "redemptive" ending, the acrid taste of Act of Violence lingers long.

I caught this film on TCM recently. At first I wasn't sure if I would like it but was sucked in thanks to the mystery of why Van Heflin's character was being stalked by Robert Ryan. Revealing why would spoil it for most people, but I highly recommend watching the film. Quite frankly this could be another classic Hollywood film noir, as it takes place in 1940's Los Angeles, and includes many famous landmarks, like the extinct "Angel's Flight."

Janet Leigh, in her fifth film, gives a fine performance as Heflin's concerned wife, and Mary Astor is a real delight as the woman who befriends Heflin in his state of panic.

This would make an excellent remake today, if done in the style of "L.A. Confidential." Catch this film sometime if you can. You'll enjoy it.

In "Seventh Cross" director Fred Zinnemann depicted the isolation of a concentration camp escapee (Spencer Tracy) with MGM studio sets stepping in for actual locations - that would have been impossible at the time. In "The Search" he made use of a ruined Berlin to tell the story of a very young concentration camp survivor - a young boy separated from his mother - using the ruins as a metaphor for the many ruined lives.

In "Act of Violence" Zinnemann returns to the aftermath of war - this time telling of two prisoner-of-war camp survivors, one of whom was a Nazi collaborator, the other one a vengeful fellow prisoner who takes it upon himself to track down and kill his former friend. Cinematographer Robert Surtees makes great use of Los Angeles' seedier parts of town - I was reminded of how his son Bruce Surtees made similar effective use of San Francisco in "Dirty Harry" - this is noir at its best, not only in cinematic terms, but with those "only come out at night" characters you expect in a top notch thriller.

Mary Astor is most effective as the barfly (couldn't make her a prostitute, though it is more than obvious) - and after her performance in the garish "Desert Fury" it's nice to see her in black-and-white again. We first meet her in a pub in which Van Heflin runs for sanctuary, the lighting there has us admiring the way she has held up, but when we move to the harsher lighting of her apartment (the lamp hanging on a cord is unshaded), we realize that the first impression was too kind. It's a magnificent performance - perhaps the best that I've seen of her.

Barry Kroeger, whose altogether too infrequent appearances included such noir classics as "Cry of the City" and "Gun Crazy," makes the most of his few moments as an underworld "enforcer" who would be quite willing to kill Ryan for a price. While Ryan seems to be a man who is on the verge of violence at any second, barely able to restrain himself, Kroeger is even more chilling. His calm, rational demeanor puts him in a different class of predator - he's good at what he does and he's used to doing it, like Alan Ladd's character in "This Gun For Hire" we can be sure that when committing murder, he feels "Fine, just fine."

Janet Leigh appears as Heflin's wife - it's an early turn for her, and while it is a most stereotypically written "wifey" role, she invests it with all that she has, but the ending is such that we have to wonder just how she will react. Right before that we have a taut scene with Heflin about to confront Ryan while Kroeger is watching. The tension is almost unbearable, all done through editing and camerawork and not one line of dialogue.

Zinnemann would continue to look at war's effects on those who came home in "The Men" as well as "Teresa" and in "Hatful Of Rain" - the man may be the most unheralded of classic film directors, but his resume includes Oscar winners such as "High Noon" and "A Man For All Seasons" as well as such nailbiters as this film and the original "Day of the Jackal."

Van Heflin plays a land developer in Los Angeles in the booming years after WW2, whom we see cutting the ribbon on a new sub-division that's opening up. He has a beautiful young wife played by Janet Leigh who adores everything about him and a toddler son as well. When an army buddy played by Robert Ryan unexpectedly shows up, it throws Heflin's little paradise into chaos. His wartime history emerges, presenting a disturbing picture of cowardice and betrayal, things he's kept hidden from everyone, including his wife, but which his own conscience and Ryan as well, won't let him escape. It turns out Ryan's been trailing him from coast to coast. Heflin's disintegration is awesome, one of the finest acting jobs ever. It's all perfectly capped off when he's trying to explain what happened to his unbelieving wife. He winds up on LA's skid row, meeting a party girl who's seen much better days played by Mary Astor, who gets him to confide in her and introduces him to Johnny (Berry Kroeger), someone who can arrange to have all his problems taken care of for a hefty price. The conclusion, a classic western style noir showdown on a breezy night on the railroad tracks, is beautifully done.