Um Sábado Violento

The town of Bradenville is in for a Violent Saturday because three men, Stephen McNally, Lee Marvin, and J. Carrol Naish have come to town to rob their bank. McNally is the brains of the trio and for any number of reasons including the town's isolation, small police force, and the fact that the bank is open on Saturday until noon have made him determine this is the place for a stickup. He's even got a fourth guy Richey Murray staked out at an Amish farm holding the farmer Enest Borgnine and his family hostage, picked because of its isolation and the fact they have no electricity or modern communication to send up an alarm.

But this is some town Bradenville, while we see the bank robbers carefully timing out their job, we also get a glimpse of Bradenville's citizenry. Quite a little Peyton Place that town is.

Richard Fleischer as director managed to skilfully combine a soap opera and a crime caper film and it works. The script is very tight, not one frame of film is wasted. We get any number of interesting side stories in the 90 minute time of the film that do not detract in any way from the caper portion.

Victor Mature is the nominal hero of the piece, he gets carjacked and kidnapped, but proves to be a bit more than the robbers can handle. Ernest Borgnine stands out in the cast as the Amish father who has to question the pacifist tenets of his faith to protect his home and family.

A little bit of noir, a little bit of soap opera mixed very well in a good thriller of a film in Violent Saturday.

The wide-screen format was at most only two years old when this film was made. Yet, Charles G. Clarke's shot composition in the new wide-screen format is beautiful. This alone makes the film worth watching.

This is a good example of a color film noir; perhaps not as good as Niagara (1953) or Leave her to Heaven (1945), which were made by the same studio by the way (20th Century Fox), but still a good example from the noir cycle in color.

One way to understand film noir is that it is simply violent melodrama. Look at The Postman Always Rings Twice (1946) for example. Violent Saturday (1955) is steeped in melodrama, but there is also some extraordinary violence. And the violence here--in typical noir fashion--is the resolution--however bleak--to some of the melodramatic conflict.

The film has a profound cynicism grinding beneath the surface of the beautiful color photography. And this cynicism remains at the end of the film.

If you haven't seen this film and you are interested in film noir or film of this period, then I would highly recommend the Violent Saturday.

There are 50+ IMDb reviews already, so I'll try to make this brief and succinct.

The first 55 minutes is a melodramatic soap opera that's borderline boring. This section gets 4 out of 10. The remainder is a thrill ride that gives the film its title. This section gets 8 out 10. Averaged out, this motion picture gets 6 out of 10.

Several reviewers take issue with the casting. I had no problem with it. Everyone does a decent, or above decent, job at acting. I could feel that they cared about their roles and were professional, carrying out the director's and producers' visions.

Considering the decade/century in which it was made, this film's violence is quite shocking. Apparently, critics took issue with this fact. By today's standards, it's no more than a PG rating.

"Violent Saturday" was not an outstanding movie, nor very original, but that is not to say that it had no merit. Richard Fleischer's direction goes much farther than skin-deep. From one angle, "Violent Saturday" is about a hold-up and the normal guy (Victor Mature) who tries to stop the criminals. That's fine, and there are some very exciting moments toward the end of the film. But another angle is more interesting: it's a study of what normal small-town-folks do in secret. Indeed, in comparison to the unscrupulous dealings of a voyeuristic bank manager, a larcenous librarian, and a trampy wife and her alcoholic husband, the sadistic bad guys (including a memorable Lee Marvin) seem less sinister. In its studies of the dynamics between husband and wife, parent and child, and its Everyman hero and hard-bitten villains, "Violent Saturday" is half a tribute to noir tradition, half a fifties family-drama. The mixture is sometimes uneasy. Particularly annoying are the conversations between doofy dad Mature and his cute little son who wishes his dad was more of a hero. But the drama between the weirder citizens of the little town is intriguing. A masterful use of the camera and Hugo Friedhofer's strident score are other assets. All in all, "Violent Saturday" is worth a look.

Combination crime-drama and soap opera, presumably a contract picture from Fox with many familiar faces (and Ernest Borgnine inexplicably cast as an Amish farmer!), turns out to be a pretty exciting movie. Three hoods plot to stick up a small town bank; meanwhile, hormones are boiling over at the new copper plant where the foreman's son is drinking himself into a stupor while his cheating wife runs around on the golf course ("You're an alcoholic," she tells him, "and I'm a tramp!"). There's also a married banker who lusts after a shapely nurse, a librarian with sticky fingers, and Victor Mature as a graduate whose oldest child is ashamed that his father never served his country. Director Richard Fleischer sets up the pieces of this story almost sluggishly, yet after about an hour of exposition the plot really starts cooking. There are some strong images here, and vivid cinematography by Charles G. Clarke (with excellent location shooting in Bisbee, Arizona and terrific usage of De Luxe color stock). The ensemble cast works admirably together, no one person upstaging the other; however, crooked Lee Marvin makes a fantastic entrance into town stepping on a child's hand in the street! Gripping, tense, and surprisingly well-written, with Richard Egan getting an emotional monologue at the end about the unfairness of death. An injured Amish child is forgotten about in the rush of excitement, and Borgnine in an Abraham Lincoln beard strains credulity, but the technical aspects and direction of the film are top-notch. *** from ****