Atto di violenza

"Act of Violence" from 1948, directed by Fred Zinnemann, is a strong noir starring Van Heflin, Robert Ryan, Janet Leigh, and Mary Astor.

Ryan is Joe Parkson, a man disabled in World War II who wants revenge against his old commanding officer, Frank Enley (Heflin). Parkson blames Enley for his disability and comes to town to kill him. Frank has been running from Joe for a while, as his wife (Leigh) mentions that they have moved to several different places. At this point Frank is an absolute pillar of the community in every way. But he's carrying a dark secret, and Joe knows it.

Excellent acting is the strength here, with Heflin giving a fantastic performance of man who slowly disintegrates, and Ryan in a familiar role as a killer. Except, of course, there's more to the story than that. Mary Astor has a small but showy part. Janet Leigh is very young here, playing Frank's adoring wife. Taylor Holmes, in the small role of a sleazeball, does a fantastic job.

Someone on this board made an excellent point. There were complaints that there should have been flashbacks showing what actually happened in the past. The point was made that a) It was a B movie and as such, flashbacks would have added too much time; and b) Because we were a nation of radio listeners back then, audiences had no trouble imagining what happened when they heard the story. I found this fascinating because it's so true and had not occurred to me. For years, we used our imaginations much more than we do today.

Act of Violence is directed by Fred Zinnemann and adapted for the screen by Robert L. Richards from a story by Collier Young. It stars Van Heflin, Robert Ryan, and Janet Leigh, with support coming from Mary Astor, Phyllis Thaxter & Berry Kroeger. Robert Surtees photographs it from various California locations and Bronislau Kaper provides the music that is conducted by André Previn.

An Embittered former POW (Ryan) is hell bent on revenge against his former commanding officer (Heflin) who betrayed his men's planned escape attempt from a Nazi prison camp.

Superior film noir piece that is not only boasting a taut, intelligent and suspenseful story to work from, but also a collective group of film makers on tip top form. The film primarily looks at the point of view of the troubled soldiers who upon returning from war are mentally and physically shot. Some are thriving as the economy in the post war times has picked up, while others are carrying the legacy of battle - - with deep long memories gnawing away with every battle scarred step. They say time is a big healer, particularly with the passing of loved ones and the willingness to forgive those who have done you wrong. But the makers here are not in that frame of mind. The ghosts of the past are not content to sit around in Surtees' menacing shadows, they want out, and with Ryan & Heflin deftly channelling different, yet very flawed, characters, the result is a tough, and at times, fascinating viewing experience.

Zinnerman, one can reasonably assume, gave his heart for this one. Having fled Austria to escape the Nazis, his heart would be shattered as his parents would become part of that dark piece of history that encompassed the Holocaust. The grim texture {Surtees again dealing in genius like mood enhancements} of the piece carries an air of realism, a need to cast out some demons in the form of cinema. The ending will cause some consternation to first time viewers: definitely! But personally I think it's closure for the director; and to us the viewers it should (has) make for an interesting conversation piece about noir and the way to finish off one of its dark offspring. As for the cast? Ryan & Heflin are superb, two of the finest character actors from the golden era of Westerns and Noirs. But rest assured that here the girls are also their equal. Leigh gives gravitas to the role of the courageous, loving and fretful wife of Heflin's tortured soul. Thaxter blends common sense with anguished loyalty as the girlfriend of Ryan's malevolent cripple. While Astor almost steals the film from the guys as a brassy woman of the bars and streets who takes Heflin in off the now dangerous avenues and alleyways.

Smart, pangy and dripping with noir style, Act Of Violence has so much going for it, and equally as much to say. 8/10

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.

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."

Whilst not strictly a noir, this excellent and tense movie has many noir moments and all the night location photography has exactly the right look, especially the fantastic railway track side denouement. Never predictable this film takes many turns as the truth of what had happened in the wartime past of the main characters is gradually revealed.

Extremely well paced with intelligent dialogue whilst the leads chase about after and away from each other we are left to assess and re-assess just who the baddie really is. In the end, however, it is the only ending possible. Very rewarding and highly recommended.