Cry Vengeance (1954)

Cry Vengeance (1954) is an ex-con framed and disfigured ex-cop on a mission violent rural slick vengeance film noir with hardboiled cops and a blond psycho hitman on the loose in backwater Alaska.

The orchestras of the 1950s are bugger, bolder, brassier and this mid 50s noir indicates well the period when the hardboiled become so hard that the pan had dried and the metal of its surface had fused into a mighty grimace, here worked by the unsmiling Mark Stevens.

Sour stares of hatred and burned faces glowering in bar rooms, pistols and punches, beatings and an Alaskan car chase scene, plus totems of the Alaskan people, offering classic rural noir respite, in the is grim revenge driven late entry into the high period of the style.

Revenge as the sole motive marks a certain cinema, and as a theme it grows in direct proportion to the abandonment of the fun and fantasy of the forties. 

Mark Stevens, known for his roles in B movies and standout performances in noir classics like The Street with No Name (1948) and The Dark Corner (1946), took his talents to the director's chair in Cry Vengeance (1954). 

While his reputation as an actor in the noir genre was solid, his first directorial outing showcases both strengths and weaknesses that underline the challenges of sustaining film noir as a genre during its waning years. Cry Vengeance is an unusual noir for its setting and themes, offering moments of promise but ultimately falling short in key areas, potentially contributing to the decline of this iconic film style.

In Cry Vengeance, Stevens not only directs but also stars as Vic Barron, a disfigured ex-cop on a revenge mission against the mobsters who killed his wife and child and framed him for a crime he didn’t commit. 

As a director, Stevens demonstrates competence, especially in his use of Ketchikan, Alaska, as the primary setting. The locale is a unique choice, bringing an unconventional, almost exotic feel to the story. 

The vertical landscapes, docks, and industrial backdrop of the Alaskan town are effectively integrated into the action, adding an atmospheric dimension often lacking in low-budget films. However, his performance as Barron is one-dimensional, a glaring flaw that hampers the emotional depth of the story.

Stevens’ portrayal of Barron is unrelentingly grim, his expression rarely changing throughout the early portions of the film. While the character’s stoic demeanor aligns with the vengeful noir archetype, it becomes monotonous. His disfigured face, a symbol of his trauma and thirst for revenge, further limits the expressiveness of his performance. This choice, while thematically appropriate, drains the film of dynamic energy and charisma, leaving audiences disengaged during pivotal moments.

The narrative of Cry Vengeance unfolds as a typical noir revenge tale but with a few intriguing twists. Vic Barron’s journey to Ketchikan sets the stage for a moral exploration of vengeance and redemption. Initially driven by rage, Barron transforms as he interacts with the people around him, particularly the innocent daughter of his target, Tino Morelli (Douglas Kennedy). 

This slow shift from a hard-nosed avenger to a man rediscovering his humanity provides a thematic core to the film.

However, the execution of this arc is uneven. While the opening scenes establish an engaging premise, the story loses momentum after Barron’s arrival in Alaska. The pacing drags, and the film's 83-minute runtime feels longer due to prolonged melodramatic stretches. 

The script borrows heavily from previous noirs like The Big Heat (1953), but lacks the tautness and urgency that defined those classics. The addition of a young girl as a redemptive figure is a misstep, diluting the genre’s signature edge and reinforcing the perception that film noir was becoming increasingly sanitized in the 1950s to appeal to conservative audiences.

Despite its flaws, Cry Vengeance boasts memorable performances from its supporting cast. Skip Homeier steals the show as Roxey Davis, a psychotic hitman with a bizarre mop of ultra-blonde hair. Homeier’s portrayal of Roxey injects a sense of unpredictability and menace into the film, creating a villain who is as entertaining as he is terrifying. His cold-blooded demeanor and violent outbursts, such as an abrupt execution scene, stand in stark contrast to Stevens’ brooding but static performance, further emphasizing the latter’s lack of dynamism.

The female characters, led by Martha Hyer as bar owner Peggy Harding, add warmth to the otherwise bleak narrative. Joan Vohs delivers a nuanced performance as Lily Arnold, Roxey’s conflicted girlfriend, whose vulnerability adds layers to the otherwise straightforward crime drama. 

These characters, along with the Alaskan backdrop, provide brief moments of respite from the film’s darker themes.

One of the most striking aspects of Cry Vengeance is its departure from traditional noir aesthetics. The film’s Alaskan setting, with its long summer days and expansive landscapes, robs the genre of its defining visual characteristic: darkness. 

Film noir, by definition, thrives on shadows, stark lighting, and claustrophobic urban environments. In contrast, Cry Vengeance unfolds under the bright, open skies of Ketchikan, creating a “noir light” atmosphere that feels out of place.

The film’s interiors, shot in a TV studio, further detract from the noir mood. The flat lighting and uninspired cinematography lack the texture and depth associated with the genre, making the film visually underwhelming. While the outdoor sequences offer some impressive compositions, particularly the aerial shots of Ketchikan, they fail to compensate for the absence of the moody, chiaroscuro style that defines classic noir.

Cry Vengeance grapples with themes of revenge, redemption, and moral ambiguity, staples of the noir genre. The film’s most compelling moments arise from its exploration of ethical gray areas. Vic Barron’s journey forces the audience to question whether vengeance can truly bring closure or if it perpetuates a cycle of violence. The inclusion of Morelli’s daughter complicates Barron’s mission, challenging his perception of right and wrong.

However, the film’s attempts at emotional complexity are undermined by its uneven tone and pacing. The melodramatic elements, particularly Barron’s interactions with the child, feel forced and detract from the gritty realism that defines the genre. Additionally, the lack of a compelling protagonist leaves audiences unsure of who to root for, further diminishing the film’s impact.

By 1954, the elements that made film noir remarkable were being diluted, and Cry Vengeance exemplifies this trend. The genre, which had thrived on moral ambiguity and stylistic innovation, was increasingly compromised by commercial and cultural pressures. The suburbanization of American society and the rise of television contributed to a shift away from the hard-edged storytelling of the 1940s. Noir films were becoming more formulaic, their edges softened to appeal to a broader audience.

Cry Vengeance represents a transitional period for film noir, bridging the classic era and its eventual decline. While it retains some hallmarks of the genre, such as a morally complex protagonist and a focus on crime and corruption, it lacks the vitality and innovation that characterized earlier noirs. Stevens’ performance and direction, though competent, fail to elevate the material, leaving the film as a middling entry in the genre’s twilight years.

Mark Stevens’ Cry Vengeance is a flawed but intriguing piece of film noir history. Its Alaskan setting, strong supporting cast, and thematic ambition offer moments of interest, but the film ultimately falters due to its uneven pacing, lack of visual style, and Stevens’ uninspired performance. As a late entry in the genre, it reflects the challenges noir faced in adapting to a changing cultural landscape. While it may not rank among the greats, Cry Vengeance remains a testament to the enduring allure and complexity of film noir, even in its decline.

Cry Vengeance (1954), directed by and starring Mark Stevens, is an intriguing blend of noir tropes set against the unorthodox backdrop of Alaska. While often labeled as a B-feature, the film punches above its weight in terms of atmosphere, character dynamics, and thematic depth. Combining the hardboiled sensibilities of urban noir with a unique rural setting, Cry Vengeance offers both compelling moments and notable flaws, emblematic of the genre’s struggle during the mid-1950s.

At its core, the film tells the story of Vic Barron (Mark Stevens), a scarred ex-cop driven by vengeance after being framed for bribery, disfigured in a car bombing, and losing his wife and child. Barron’s single-minded pursuit of justice—or retribution—embodies the archetypal noir protagonist, tormented by personal demons and a tragic past. Believing gangster Tino Morelli (Douglas Kennedy) responsible for his suffering, Barron tracks him to Ketchikan, Alaska. However, the true villain emerges as Roxey Davis (Skip Homeier), whose unhinged malevolence steals the spotlight and escalates the film's tension.

Unlike noir films set in shadowy urban landscapes, Cry Vengeance relocates its drama to the stark, sunlit Alaskan wilderness. This shift challenges traditional noir aesthetics, replacing the genre’s usual interplay of light and shadow with a harsh, unrelenting brightness. The result is a film that visually contrasts noir’s thematic darkness while retaining its emotional and moral bleakness.

The strength of Cry Vengeance lies in its nuanced characters, all existing within varying shades of moral ambiguity. Vic Barron’s stoicism and relentless anger make him a classic noir antihero, but his moral compass wavers disturbingly, as evidenced by a chilling scene where he offers a bullet to an innocent child as a warning to her father. His arc, from vengeance-driven loner to a man capable of redemption, is compelling, though predictable.

Roxey Davis, played with unsettling charisma by Skip Homeier, is one of the film’s most memorable elements. Sporting blonde hair and a seemingly preppy demeanor, Roxey exudes an Ivy League charm that belies his cold-blooded nature. His acts of calculated violence and manipulative cruelty render him both loathsome and fascinating. Joan Vohs, as Roxey’s ill-fated girlfriend Lily Arnold, brings depth to her role as a conflicted character caught between survival and morality. Martha Hyer’s Peg Harding, a bar owner with a smoky allure, serves as a stabilizing influence on Barron, offering a glimmer of hope amidst the pervasive despair.

Traditionally, noir thrives in the dead of night, its shadows creating a visual metaphor for the genre's themes of moral uncertainty and human frailty. Cry Vengeance, however, subverts this expectation by setting its story during an Alaskan summer, where daylight dominates. 

Despite the absence of noir’s iconic chiaroscuro lighting, the film maintains its edge by exposing its characters’ darkest impulses in unforgiving daylight. The natural environment, from Ketchikan’s industrial waterfront to its remote wilderness, serves as an evocative backdrop that heightens the tension and alienation felt by the protagonist.

The interiors—dimly lit taverns, seedy motel rooms, and cramped living spaces—retain the claustrophobic atmosphere typical of noir. These moments ground the film in its genre roots, contrasting sharply with the expansive outdoor sequences.

The film bears a strong resemblance to The Big Heat (1953), another revenge-driven noir centered on a cop’s quest to avenge his family. Both films feature a scarred protagonist, a disfigured femme fatale, and a ruthless gangster. However, where The Big Heat benefits from Fritz Lang’s tight direction and a layered screenplay, Cry Vengeance suffers from a lack of narrative finesse. 

The screenplay by Warren Douglas and George Bricker is serviceable but predictable, with motivations that occasionally feel contrived or underexplored. For instance, the reasoning behind nightclub owner Nick Buda (Lewis Martin) targeting Barron remains vague, leaving a central plot point unresolved.

Despite these shortcomings, Cry Vengeance excels in its pacing and action. From brutal fistfights to emotionally charged confrontations, the film keeps the tension high. Roxey’s violent unpredictability and Barron’s relentless pursuit ensure that the stakes remain palpable, even as the narrative occasionally stumbles.

At its heart, Cry Vengeance is a meditation on revenge and its corrosive effects. Barron’s transformation from a vengeance-obsessed loner to a man capable of forgiveness and renewal underscores the film’s central moral dilemma. The inclusion of Morelli’s young daughter, Marie (Cheryl Callaway), as a humanizing influence on Barron is effective, though bordering on cliché. Her presence challenges Barron’s binary view of good and evil, forcing him to reconsider the cost of his actions.

Lily Arnold’s fatalistic observation—“One way or the other we’re all on a merry-go-round… none of us can get off 'til they push us off”—captures the existential despair of the noir universe. This sentiment resonates through the film, as characters grapple with their pasts and the inescapable consequences of their choices.

This Alaskan fear and sex and burned face face off in the bar car chase and shoot out festival of vengeance, for it is an aptly names film noir, Cry Vengeance (1954) appeared with a relatively tame tagline, which ran as follows:

The call of the avenger . . .

. . . but does yet not seem to satisfy in its description and warning about the noirish effects this late to the feat rural chase noir brings to the cigarette burned cinema seat.

Cry Vengeance is a noteworthy entry in the film noir canon, distinguished by its Alaskan setting and strong performances, particularly from Skip Homeier and Mark Stevens. While its screenplay lacks the sophistication of the genre’s best works, the film succeeds in capturing the essence of noir: a world where moral certainties crumble and redemption comes at a steep cost. 

As a directorial debut, Stevens demonstrates a keen eye for atmosphere and tension, even if his portrayal of Barron is occasionally too stoic. Ultimately, Cry Vengeance stands as a flawed but fascinating example of mid-century noir, offering both innovation and nostalgia for a genre nearing its twilight.

Cry Vengeance (1954)

Directed by Mark Stevens

Genres - Action-Adventure, Crime, Drama, Thriller  |   Sub-Genres - Film Noir  |   Release Date - Nov 21, 1954  |   Run Time - 82 min.