Act of Violence - Warner Archive Collection

Frank Enly (Van Heflin) is an all-American guy. A respected World War II veteran who's also a civic leader and beloved husband and father, he's a pillar of his community and poster boy for benevolence and propriety. His idyllic small-town existence, however, turns on a dime when he learns his best Army buddy Joe Parkson (Robert Ryan) is trying to hunt him down. Not to reconnect, have a few beers, and swap war stories, but quite possibly to kill him.

That's the intriguing premise of Act of Violence, one of the more fascinating film noirs of the 1940s...and one of the genre's least heralded titles. Impeccably directed by a then-relatively unknown Fred Zinnemann and featuring blistering performances from Heflin, Ryan, Janet Leigh, and Mary Astor, the movie searingly examines such important topics as post-traumatic stress, the desperation and despair of prisoners of war, abject guilt, deception, and morality. That's a heavy load for any picture, but the screenplay by Robert L. Richards deftly weaves those themes into an exciting manhunt and domestic terrorism narrative that crackles with tension and contains a couple of surprising twists.

On its surface, Act of Violence seems like a Cape Fear type of yarn, as it focuses on one man's vendetta against another, but it's much more complex. We're initially led to believe Joe's horrific war experiences have left him mentally unbalanced and his targeting of Frank is fueled by delusions that are a byproduct of his illness, but as Joe's pursuit of Frank intensifies we learn Frank harbors a shameful secret and he's not at all the man we - and his adoring wife Edith (Leigh) - believe him to be. Revealing any more would spoil the shock value of this tautly plotted, often gripping film.

Act of Violence expertly merges elements of small-town and big-city film noir to fashion a claustrophobic, psychologically charged tale. As Frank falls off his pedestal, he spirals into the Los Angeles underworld, where his desperation and vulnerability make him easy prey for a group of grifters. Mary Astor, in a dazzling character turn, plays a jaded, bedraggled, middle-aged prostitute who leads Frank further astray. With customary zeal, Astor sinks her teeth into the juicy role and steals every scene in which she appears.

Zinnemann, who would later win Oscars for directing From Here to Eternity and A Man for All Seasons, hones his considerable talent in this early feature, zeroing in on conflict and character while maximizing the impact of several gritty L.A. locations. Far more realistic in look and tone than most MGM films of the period, Act of Violence forced audiences of the day to look beyond the glory of the recent World War II victory to see the toll it took on those who fought. (Interestingly, Zinnemann's next film, The Men, which marked Marlon Brando's film debut, would focus on the challenges physically disabled veterans face as they adjust to life after combat.)

Heflin perfectly embodies his tortured character in one of his best film roles. Lacking matinee idol looks, he makes a relatable everyman and mixes masculine bravado with a disarming earnestness that catches us off guard at key moments. He and Ryan make a formidable pair, even though they rarely share the screen. Ryan specialized in dark, volatile characters with a short fuse, and he's an imposing presence here. In this deftly constructed screenplay by the soon-to-be-blacklisted Richards (who would co-write the James Stewart western Winchester '73 a couple of years later), both men are, in their own way, heroes and villains, and it's their innate human flaws that make Act of Violence so real and so compelling.

Leigh was just 21 when she made Act of Violence, and it was only her fifth motion picture, but she files an electrifying, heartfelt portrayal. As Frank's doe-eyed wife, she's terrorized by Joe, then learns ugly truths about her upstanding husband that test her love and devotion. It's a tricky part requiring insight and maturity, and Leigh nails it. As Joe's worried and distraught girlfriend, the vastly underrated Phyllis Thaxter also impresses, and Taylor Holmes, perhaps best known as Tommy Noonan's domineering father who's ultimately charmed by Marilyn Monroe's Lorelei Lee in Gentlemen Prefer Blondes, shines as a slimy, corrupt lawyer who salivates at the prospect of exploiting Frank.

Act of Violence stands on its own as a superior film noir, but beneath its simple revenge premise and cat-and-mouse narrative, the movie makes important statements and addresses probing themes. Its downbeat nature spelled doom at the box office at the time of its release, but it holds up exceedingly well and remains yet another testament to Zinnemann's talent and craftsmanship.

Vital Disc Stats: The Blu-ray
Act of Violence arrives on Blu-ray packaged in a standard case. Video codec is 1080p/AVC MPEG-4 and audio is DTS-HD Master Audio 2.0 mono. Once the disc is inserted into the player, the static menu without music immediately pops up; no previews or promos precede it.

A brand new HD master struck from a 4K scan of the best preservation elements yields another terrific 1080p/AVC MPEG-4 transfer from Warner Archive. Excellent clarity and contrast, deep blacks, vibrant whites that resist blooming, and a pleasing grayscale combine to produce a striking picture that honors the cinematography of three-time Oscar-winner and 16-time nominee Robert Surtees. Much of the movie takes place at night, but crush is rarely an issue. Strong shadow delineation enhances the noir atmosphere, just the right amount of grain preserves the feel of celluloid and bolsters the gritty narrative, and sharp close-ups highlight stubble, sweat, and facial creases. Some shots appear a bit soft and exude more texture, but any print defects have been repaired and the overall image is free of any nicks, dirt, or scratches. I don't own the previous DVD, but it's impossible to imagine Act of Violence looking any better than it does here.

The DTS-HD Master Audio 2.0 mono track supplies solid audio that helps ratchet up suspense. Sonic accents like gunshots, fisticuffs, train whistles, and revving car engines are crisp, while a wide dynamic scale handles all the highs and lows of the bold music score by Bronislau Kaper, who would win an Oscar a few years later for Lili. All the dialogue is clear and easy to comprehend, no distortion creeps into the mix, silences are clean, and no age-related hiss, pops, or crackle break the tense mood.

In addition to all the extras from the 2007 DVD, Warner Archive includes a couple of vintage cartoons to the supplement package.

• Audio Commentary by film historian Dr. Drew Casper
• Featurette: "Act of Violence: Dealing with the Devil" (SD, 5 minutes) - An assortment of film experts, including director Oliver Stone and critic Richard Schickel, discuss the film's themes, execution, and performances in this brief 2007 featurette.
• Vintage Cartoons: Goggle Fishing Bear (HD, 7 minutes) and The Shell-Shocked Egg (HD, 7 minutes) - Barney Bear befriends a seal who helps him evade the jaws of a shark in the first cartoon, while the second cartoon chronicles a mother turtle's frantic efforts to find a missing hatchling.
• Theatrical Trailer (SD, 2 minutes) - Van Heflin narrates the film's original preview, which promises "drama without equal in its strange intensity!"

A fascinating, suspenseful tale that probes morality and human frailty, Act of Violence is far from a typical film noir and is buoyed by expert direction from Fred Zinnemann and blistering performances from Van Heflin, Robert Ryan, Mary Astor, Janet Leigh, and Phyllis Thaxter. Warner Archive's high-quality transfer struck from a new 4K scan of the best preservation elements and remastered audio immerse us in this gripping film that deserves to be rediscovered. Highly Recommended.