7.5/10
3,844
56 user 29 critic

Act of Violence (1949)

Passed | | Drama, Film-Noir, Thriller | February 1949 (USA)
An embittered, vengeful POW stalks his former commanding officer who betrayed his men's planned escape attempt from a Nazi prison camp.

Director:

Fred Zinnemann

Writers:

Robert L. Richards (screenplay), Collier Young (story)
Reviews

On TV

Airs Sun. Jan. 27, 8:00 PM on TCM

ON DISC
1 nomination. See more awards »

Photos

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Cast

Complete credited cast:
Van Heflin ... Frank R. Enley
Robert Ryan ... Joe Parkson
Janet Leigh ... Edith Enley
Mary Astor ... Pat
Phyllis Thaxter ... Ann Sturges
Berry Kroeger ... Johnny
Taylor Holmes ... Gavery
Harry Antrim Harry Antrim ... Fred Finney
Connie Gilchrist ... Martha Finney
Will Wright ... Pop
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Storyline

War veteran Frank Enley seems to be a happily married small-town citizen until he realises Joe Parkson is in town. It seems Parkson is out for revenge because of something that happened in a German POW camp, and when a frightened Enley suddenly leaves for a convention in L.A., Parkson is close behind. Written by Jeremy Perkins {J-26}

Plot Summary | Add Synopsis

Taglines:

The manhunt no woman could stop! See more »


Certificate:

Passed | See all certifications »
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Details

Country:

USA

Language:

English | German

Release Date:

February 1949 (USA) See more »

Also Known As:

Akt der Gewalt See more »

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Box Office

Budget:

$1,290,000 (estimated)

Gross USA:

$703,000, 31 December 1948

Cumulative Worldwide Gross:

$1,129,000, 31 December 1948
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

This film received its USA television premiere in Philadelphia Sunday 14 October 1956 on WFIL (Channel 6), followed by Los Angeles Tuesday 23 October 1956 on KTTV (Channel 11) , by Seattle Wednesday 31 October 1956 on KING (Channel 5), by New York City Tuesday 4 December 1956 on WCBS (Channel 2), by Altoona PA Sunday 9 December 1956 on WFBG (Channel 10) and by Chicago Wednesday 19 December 1956 on WBBM (Channel 2); in Minneapolis it first aired 2 May 1957 on KMGM (Channel 9) and in San Francisco 11 January 1958 on KGO (Channel 7). See more »

Goofs

As Parkson (Ryan) gets into the rowboat, there is a stiff breeze, the water is choppy, and a cloudy sky is 'threatening'; a second later, after the tender pushes the boat away from the dock, the lake is calm and breeze-free, and the sky is clear. See more »

Quotes

Frank R. Enley: [desperately looking for Johnny] Where do I find him? Where does he live?
Pat: I don't know. Nobody knows!
Frank R. Enley: Well, there must be some way I can find...
Pat: Guys like him don't tell where they live!
See more »

Connections

Featured in Act of Violence: Dealing with the Devil (2007) See more »

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User Reviews

 
"A lot of things happened in the war"
10 December 2007 | by imogensara_smithSee all my reviews

"What is it, love trouble or money trouble?" a burnt-out good-time-gal asks the man she just picked up in a bar. She's seen all the troubles in the world, she tells him, "And they boil down to just those two. You're broke, or you're lonely." Most noir films confirm this: the hero is brought down by lust or greed or some combination of the two; by the temptations of crime or the lure of a femme fatale. But this time the world-weary hooker is wrong; her man's problem has nothing to do with love or money. It has to do with the war, when, as the man tells his wife, "A lot of things happened...that you don't understand."

World War II is an undercurrent in many post-war noirs. A generation of men had faced violence and death; they couldn't settle back into their ostentatiously wholesome communities, and they were all too ready to pull out their service revolvers to solve peacetime problems. ACT OF VIOLENCE offers the most direct analysis of the war as a source of noir angst, becoming both one of the best examples of the genre and one of the best films about the effects of war. Four years after America's victory, it was still daring to admit that not all of our boys behaved honorably overseas, and that our prosperity might rest on corrupt foundations.

Frank Enley (Van Heflin) is a perfect image of postwar success, a war hero with a thriving business, a nice house in the suburbs, a beautiful wife and a young son. This idyll of fishing trips and checkered aprons is invaded by Joe Parkson (Robert Ryan), a creepy, limping, gun-wielding, apparently deranged stalker. He was with Frank in the army and in a P.O.W. camp, and holds a mysterious, murderous grudge against him. The first part of the movie plays like a horror film, using magnified sounds--especially the slow, shuffling drag of Parkson's lame leg--in eerie stillness to heighten suspense. As we learn more about what really happened in the war, the black-and-white scenario of threatened innocence unfolds into a complex moral puzzle. Can desperate circumstances or good intentions mitigate an act of betrayal and moral cowardice? Is violent revenge ever justified?

Robert Ryan starts out in typical form: intense, tightly-wound, scary, seething with hate. But we also get to glimpse the suffering and moral outrage that underlie his tortured obsession. His anger might be righteous, but he's still a figure of terror. Van Heflin has the richer part, and he reveals the full measure of his under-appreciated brilliance. He doesn't look like a movie star--he was well described as "attractively homely"--and he doesn't act like a movie star either. He's so transparent and direct; he never advertises what he's doing. Like Arthur Kennedy, he specialized in ambiguity, playing nice guys with something shifty and unreliable about them, or unscrupulous heels with decent cores. Here he evolves from an amiable pillar of the community to a man so sick with self-loathing that he can hardly stand up straight.

In a classic noir trajectory, he moves from the sunny suburbs to the wasteland of an urban night, where the desolate streets around L.A.'s Angel's Flight mirror his state of mind. (The suburbs too have dark shadows and unsettling overtones, like the background motif of the Enleys' baby screaming behind the bars of his crib or playpen, trapped and helpless as his father.) At the end of his rope, Frank meets a friendly, worn-out barfly (a shockingly weathered and tawdry Mary Astor.) Astor works wonders with a clichéd part, all nervous tics and generosity pinched by fear and bad memories. She keeps talking about "getting her kicks"--it's all she has left. "Gee, there's no law says you gotta be happy."

In this seedy underworld, the man with the tortured conscience meets a man with no conscience, a killer-for-hire with a smooth voice and plump, evil face (Barry Kroeger) who plays the part of Satan, tempting Frank to get rid of his problem the easiest way. Heflin manages to retain sympathy for his weak and sometimes despicable character, through the honesty and vividness of his anguish. Fred Zinneman keeps the suspense mounting through taut, spare direction: no excessive music or flashy visuals or extraneous flourishes, just a relentless focus on the collision courses of the main characters, who include Frank's wife (the girlish, gorgeous Janet Leigh) and Parkson's girlfriend (Phyllis Thaxter), who doesn't want her man to be a murderer.

What would you do if you were starving, literally fighting for survival, and you had a chance to save yourself? What if you had done something terrible and knew that only one living witness knew about it? What if you were that witness? There are no easy answers in this movie, which attacks the popular notion that when a war is over it's over, and people can just get on with their lives. An "act of violence" is never the end, it always leads to another.


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