Act of Violence (1949)

Fresh and Exciting

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

One of the worst ways to make a cult movie is to set out to make a cult movie.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

Despite some sterling efforts by director and photographer, it is hard to work up much interest in this psychological thriller. The characters are unconvincing - and the stars don't help: Van Heflin goes through his usual motions ("Register shock, Van!"), Janet Leigh lays on the mousey housewife bit with a trowel, Phyllis Thaxter once again does her duty by the worried and sympathetic friend, and Robert Ryan is so hammily obvious a neurotic nut, it's impossible to understand why he was not carted off to the psycho ward the minute he stuck his head out of doors. The supporting cast is much more realistic and lifelike, with Mary Astor, Taylor Holmes and Berry Kroeger trying valiantly to give their roles depth and conviction - though they are largely defeated by the script. Still, at least they succeed in making their portrayals interesting - which is more than one can say for the star performers. The actual plot mechanics are dated and old-hat now, but the script could have succeeded - despite its unconvincing characters - had the writers made some effort to preserve the dramatic unities. Here is a yarn that is a natural for a tight time span (say no more than ten or twelve-hours) and for confinement to the environs of a particular locale. Instead, the story meanders all over the place, introducing superfluous characters at every turn and having no sense of urgency. And then it tacks on a ridiculous, melodramatic climax that conveniently avoids having to deal with the moral or social issues previously raised!

Frank Enley (Van Heflin) lives a Norman Rockwell life with his wife Edith (Janet Leigh) and baby. A mysterious man starts stalking him. He gets suspicious and fearful. His wife is clueless. It's former fellow soldier Joe Parkson (Robert Ryan) who has a score to settle from the war. Edith is shocked when Joe reveals the source of the animosity.This is taut filled with tension. It threatens with the name of its title. The threat is always bubbling under the surface. It is the darkest of noir filmed in the sharp black and white. It has all the hallmarks of a classic noir. I would love to have a remake with a more violent modern sensibility.

Fred Zinnemann directed this post-WWII thriller that stars Robert Ryan as Joe Parkson, an embittered and determined WWII veteran who is stalking seemingly respectable and successful family man Frank Enley(played by Van Heflin) who has a dark secret from his past when he was the commanding officer in the German POW camp that he shared with Parkson and his group. Janet Leigh plays Edith Enley, who tries to understand why Joe hates her husband, who then flees the state to a convention, with Joe in pursuit. Mary Astor plays a woman who helps Joe. Suspenseful and interesting film with fine acting and directing, with comparisons to the later film "Stalag 17".

This is an exciting quick-moving suspenseful film and I will recommend it even though I didn't care for the morally dubious conclusion. Highlights include the lead running from his stalker through a deserted 1948 downtown LA. We get a glimpse of The Angel's Flight railway, the extremely short funicular featured in about 20 films, it seems lots of directors thought it looked cool moving diagonally through the back of their shots. When it's not down for repairs you can still ride its' complete one block route today for two bits. The original was taken down and rebuilt in a new location a 1/2 block south. Janet Leigh was in this film, and she's apparently such a great actor I didn't even realize it was her until I saw her name in the credits, which very oddly for that era were at the end of the film instead of the beginning.