Now this is what I call a shame: it begins with a marvelous premise, it keeps it's tension all the way, but it ends up with an awful scene, typical of a crappy Hollywood story.

You'll find other noirs which are more consistently intense, but very few which are as atmospheric. The cinematography drowns the viewer in gloomy & intrusive imagery which symbolizes the protagonist's fracturing mind. Wherever Frank walks, shadows emerge and follow ominously. The city is presented as otherworldly and ghostlike. Even the film's antagonist is not really an actual person so much as another representation of Frank's prewar guilt. The shot of the train is particularly memorable.

One turn aside, it's a tightly scripted tension filled film. Both leads were sympathetic despite being in conflict, which gives the whole affair a melancholy feel. Robert Ryan and Van Heflin reveal their respective characters inner conflicts in unique but effective ways. Not showy performances, but they're perfectly fitting for the film. I'm not sure the right ending for this film could exist, which is kind of the point, but what we get strikes the right chords. Good use of visual contrasts too.

Unresolved war issues make this a complex ethical one for the audience. Post war family values nake us sympathetic to the targeted instigator but revealing elements slowly turn our support to the hunter. Realistic and dangerous sub levels keep your interest.

90

Absolutely fucking incredible. The consonant, beautiful cinematography and careful, intimidating mise-en-scène lighting establish a mood of intrusive (and semingly permanent) bewilderment and despair, in this atmospheric noir. Zinnemann address some post-war issues and imbue moral ambiguity in the gloomy world he set up, where the antiheroes are 'common men', with hearts and faults, and the femme fatale a sympathetic dame trapped in an unfortunate maze. Gracious gloom. Loved it!

One of the most tense and tightly constructed noirs I've ever seen, with a morality as murky and gray as any. Act of Violence lacks the typically clear division between hero and villain, and benefits greatly from that: the story becomes more and more morally complex with each new layer that's revealed. This also boasts some of the best, darkest noir cinematography around. Highly recommended.

Good cast (and the three leads are excellent). Taut script and direction (especially loved the shot of Heflin running as the els pass overhead). Zany score too.

Good story, but the actors let the movie down.

A sterling example of noir, with deep contrast in the lighting, slow-burn tension, a descent into the underworld, and the past coming back to haunt you. Overall, this is a really solid and gripping piece of work, with some memorable moments and thoughtful post-war themes. Wonderful climax and resolution, too, and a clever use of sound. The acting is mostly strong. I'm tempted to give this is a higher rating, but it didn't quite push my buttons in that certain way.

The best section of the film has Van Heflin running down desolate, wind-swept streets in the middle of the night, looking for a place to escape from Robert Ryan. Unluckily for him, he runs into Mary Astor.

A great postwar crime drama, cynical and full of dark themes. It's a tense and suspenseful film noir that boasts some of the darkest, gloomiest black and white cinematography I've ever seen and a cast of disturbed characters to match. It drags on a bit in some places, but usually, for lack of a less cliche phrase, it keeps you on the edge of your seat.