ada the leading man is my tpye

Supelice Dreadfully Boring

BoardChiri Bad Acting and worse Bad Screenplay

Tacticalin An absolute waste of money

blanche-2 "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.

dougdoepke What a great "character" shot when crippled Joe (Ryan) tries to cross the parade line, is turned back, only to limp obsessively across a moment later. Makes no difference to him that it's a patriotic parade. He's in his own world of revenge and by golly nothing's going to stop his mission. This one clever scene tells us more about Joe than a hundred lines of expository dialog.It's aces all around for this front-rank noir. But I especially like the sneaky screenplay. Frank (Heflin) doesn't interrupt patriotic parades; instead, as ex-air force captain, he speaks at them. Plus, he's a friendly guy with a great young wife (Leigh) and toddler kid, a nice suburban home, and a growing business. Yes indeed, Frank is clearly Mr. America returned home successfully from the war. So why does the obsessed Joe want to kill Mr. America. That limp seems to point to a moral defect as well as a physical one, while he's got all the personality of a coiled rattler.As a result, we have certain expectations about who these two guys are and how they will act as the suspense builds. But surprisingly, as events unfold, the screenplay peels back appearances with enough nuance that we may not be aware of the reversal until the end. And in the process, the movie produces one of the more subtly iconoclastic dramas of the noir period.The casting here is flawless. It's Ryan at his darkest and most relentless, and Heflin at his plainest and low-key best. But I especially like the three women—Leigh, Thaxter, and Astor. Their parts are easily overlooked amidst the male-driven suspense, but each performs expertly in demanding roles. And unusual for noir, each tries to perform a healing role for her wounded man, though Pat's (Astor) methods are borrowed from the dark side. At the same time, throw in two icons from noir—the slippery Taylor Holmes (the shady lawyer) and the slimy Barry Kroeger (the hit-man), and you've got an all-star cast of characters.My only reservation is with the last ten minutes. The depot and runaway car sequence was obviously staged to entertain the eye and not necessarily to be believed. I'm all for artistic license and the sequence is beautifully photographed-- it just strikes me as stagier and more artificial than it should be. Nonetheless, this is one of the more surprising and unusual noirs from the classic postwar period, and certainly merits a look-see.

secondtake Act of Violence (1948)Is this possibly Janet Leigh's best performance ever? Oh yes, that's Janet Leigh, the one in the shower in "Psycho." And Van Heflin is continually underapprectiated, so another chance to appreciate him here. Robert Ryan and Mary Astor are both in top form, too. And so is cinematographer Robert Surtees, making this one of the most dynamic (and varied) of film noirs.This is a classic. It has the feel of a noir, of course, even though much of it is set in a small town, but it has the key plot elements of the returning veteran unable to cope with the new post-war reality. Filled with believable surprises, fast and gorgeous, acted to the hilt, and yet still stylized a little beyond mere reality. A gem, a joy. The director? Fred Zinnemann, who used Leigh in the original "Manchurian Candidate," is also the man who pulled of "High Noon" and "From Here to Eternity." All four of these films have a combination of vigorous visual style, top notch acting with subtlety, and most of all, social significance. They deal with issues of their various times in ways that never preach, however. Of the four, it's actually possible that this one is the tightest and best of them all. Higher praise? Not possible.

seymourblack-1 "Act Of Violence" is a powerful and tense melodrama about two men who, during the period immediately following World War 11, are both haunted by the past. The methods by which they struggle to resolve their troubled circumstances differ, as one chooses violent revenge as a solution whilst the other ultimately opts for an even more perversely criminal remedy. Stark visual contrasts are drawn between the brightly lit scenes which celebrate all the optimism and positivity of the period and the more darkly lit ones during which the problems of the recent past are addressed.Frank Enley (Van Heflin) is a clean cut ex-serviceman who runs his own successful business. He's happily married and well respected in his local community. Joe Parkson (Robert Ryan) is a disabled war veteran who calls at Frank's house and learns from his wife Edith (Janet Leigh) that Frank is away on a fishing trip. Joe pursues Frank to the nearby lake with the intention of killing him but is thwarted when he is unable to get a clear shot at him. When a bartender tells Frank that a stranger with a limp has been asking about him, he immediately panics and heads home.Frank tells Edith that Joe and he were in a Nazi POW camp together and that he doesn't want to see Joe as he's mentally ill. Frank also admits that it was because of Joe that he moved the family away from their previous home in Syracuse, New York. The couple hide out in their darkened house when Joe calls again and his threatening presence pacing around outside, makes the sound of his irregular stride seem extremely sinister.When Frank goes to a builders' and contractors' convention in Los Angeles, Joe goes again to his home and tells Edith that he's pursuing Frank because he was responsible for his disability and the deaths of a number of his comrades. At the convention, Joe finds Frank and after a brief scuffle, Frank escapes. He goes to a bar where he meets Pat (Mary Astor) who introduces him to a "lawyer" named Gavery (Taylor Holmes) and a hit man called Johnny (Berry Kroeger) and between them they make an arrangement for Joe to be murdered. The events that take place when the killing is to be carried out, lead to a resolution for both men and some degree of redemption for Frank.Frank is an archetypal noir character being a rather weak man, haunted by something from his past and who despite his best efforts, is unable to avoid his own destiny. His collusion with the Nazis that led to the deaths of his comrades had been an ill judged action which had been made at a time when he was under duress and the same poor judgement was shown yet again when he made a similar bad decision to conspire with criminals to kill Joe. Neither man is completely noble or unequivocally evil, but both are undoubtedly victims of their recent tragic past. Their story which initially appears to be a simple conflict between good and evil is gradually revealed to be something more complex and disturbing.Fred Zinnemann's direction and Robert Surtees' cinematography are both excellent and combine effectively to unveil the different aspects of Frank and Joe's characters and also to convey all the associated tension and anxiety that they feel throughout."Act Of Violence" certainly grows from its deceptively straightforward looking introduction into an absorbing tale of some substance and profundity.