Violence

From 1947, Violence stars Nancy Coleman, Michael O'Shea, Sheldon Leonard, and Emory Parnell.

Coleman is Ann Mason, a reporter working undercover as a secretary for United Defenders, a fascist group using veterans by taking their money and encouraging them to be violent over issues such as housing and jobs.

Veterans had problems readjusting to society after World War II, and in this and another film I saw recently, their disenfranchisement made them a target for both communist and fascist groups.

Nancy is gathering evidence for her editor in Chicago, but on a trip there, she's in a car accident and develops amnesia. She meets a man, Steve (Michael O'Shea) who claims they are engaged.

Little by little, Ann remembers she works for the Defenders but not that she's undercover. Steve returns to Los Angeles with her and goes to work for the organization.

Ann begins to believe Steve is working against the Defenders and informs her boss. Trouble follows.

Cliche-ridden noir with Coleman constantly touching her head when she's trying to remember. And we all know what brings a memory back - another hit on the head.

Well, Ann falls and hits her head. A woman staying with her, whose husband was murdered by the Defenders, puts a dry handkerchief over her forehead. Big help.

You knew that charming, lively Michael O'Shea could never be evil. Sheldon Leonard was your typical meanie.

Interesting for what was going on in the US at the time, but not great.

Reporter Ann Dwire is undercover in a neo-fascist group as the secretary to the leader, True Dawson. They are recruiting disgruntled veterans returning from the war. She is ready to escape to report her findings to her Chicago newspaper but group member Fred Stalk is suspicious. Her cab is being pursued and ends up in a crash. She is left with amnesia and everything else burnt up in the fire. She recalls her fake identity Ann Mason. She returns to her fake job and speaking in support of the movement.

The premise is good but the execution is weak. There is good violent plot but it falters on execution. Lead actress Nancy Coleman is fine. It's mostly in the weak production and direction. I do like the general premise but this is not good.

(1947) Violence CRIME DRAMA

Co-produced and directed by Jack Bernhard that has two men beating up a guy name Joe Donahue (Jimmy Clark) for some information before he is killed and murdered. All this ruckus was happening down inside a basement, and it appears that Fred Stalk (Sheldon Leonard) gives out orders while the person who does all the beatings his name is "Joker'(Peter Whitney), both of them are working for a wannabe politician, True Dawson (Emory Parnell) as he has just finished speaking on front of a group of war veterans. As they are interacting with the secretary, Ann Mason (Nancy Coleman) before True Dawson come out and takes him into a private office. We then find out that the guy both Fred and Joker had just murdered, Troy Donahue apparently used to work for the True Dawson campaign until he did some investigating of his own. And that Tony was able to uncover some incriminating dirt on the candidate True Dawson, the reason why he was murdered so that this info cannot get out. And during them discussing matters, is when Ann the secretary walks in to discuss her departure to visit friends in Chicago. We find out later by the time we see her at her apartment that she too is also investigating True Dawson's shady past for a magazine called "View" for an editor, Ralph Borden (Pierre Watkin).

Things takes a turn for the worse as soon as Ann comes off from the Chicago airport and she notices someone following her and she asks the driver to lose him. And gets into an accident that causes her to lose her memory wondering her purpose to visit Chicago in the first place. We are then introduced to another person, claiming to be her fiance who happens to be a war veteran himself, Steve Fuller (Michael O'Shea). And upon Ann return back to LA with Steve at her side, she very slowly begins to recount what happened as well as her purpose including her role as a secretary. And it is not long, Steve is doing some sleuthing himself, he does this by discovering a letter addressed with Joe Donahue's name on it. And of course, he also associates himself with Fred and his brute Joker after working for the True Dawson campaign called the "United Defenders". It becomes complicated when Joe Donahue's wife, Sally Donahue (Cay Forester) shows up looking for her husband and Ann gets involves her self in her husband's disappearance.

With a short running time of an hour and 12 minutes, this movie is not bad if not for the predictable scenes their is a happy ending.

Much of the team that made Monogram's Decoy of the year before such a startling little thriller re-upped for the same studio's Violence: Director Jack Bernhard, co-scripter Stanley Rubin, composer Edward J. Kay, heavy Sheldon Leonard (the second-string Raymond Burr, who, like Burr, would find his fortune in television). Lightning, alas, failed to strike twice, so Violence remains a typically flawed Poverty-Row production.

In the basement of the Los Angeles headquarters of the United Defenders – a pseudo-populist scam organization to fleece angry veterans – a young recruit who stumbled onto the truth meets his unpleasant end. (This crypto-Fascist group has affinities with The Black Legion of a decade earlier.) Upstairs, however, the forced cheeriness prevails, with the head of this personality cult (`True' Dawson, played by Emory Parnell) bidding his loyal secretary (Nancy Coleman) goodbye as she leaves for a vacation to Chicago. Little does he suspect that Coleman is an investigative reporter working undercover on an exposé of the racket, which will hit the streets as soon as she's safe in the Windy City. Leonard, one of his lieutenants, does have his suspicions about, as well as unresolved feelings for, Coleman, but can't find the evidence, so off she goes.

In Chicago en route to her magazine's offices, Coleman's cab crashes trying to elude a mysterious pursuer (Milo O'Shea). Hospitalized, Coleman wakes to find herself in a state of amnesia (of the trickiest sort: She remembers things that are convenient to advancing the story but forgets everything else). Back on the coast, she has no memory of her journalistic scoop and so thinks herself a loyal soldier for the United Defenders; she also believes she's engaged to O'Shea, because he told her so. And the plot lumbers on, with the murdered man's widow showing up to find him, and an all-powerful `Mr. X' looming darkly behind the whole operation....

Violence is riddled with holes and implausibilities (of the type that, in today's Hollywood, would all but guarantee a blockbuster). Rather transparently, it draws on themes and issues that sparked the early years of the noir cycle: The dissatisfaction of returning veterans and post-war labor strife (and might the demagogue's name `True' be an echo of then-president Harry S Truman's?). But the topical references prove no more than gimmicks for a quick-and-dirty production that has little coherence or resonance.

This 1947 Poverty Row film noir about some racketeers organizing returning vets into strong-arm squads has an awful score of overwrought music from Edward J. Kay. Nancy Coleman is investigating the organization, but comes down with amnesia.

Since we know the set-up before she comes down with memory loss, there's no sense of noirish what-in-hell-is-going-on suspense. It all comes down to a cozy non-mystery shot on small sets with occasional bouts of rear projection, punctuated by loud, frantic musical stings. Besides Coleman, we get Sidney Sheldon, Michael O'Shea and Emory Parnell.