Mark Stevens was never a big star. Most of his career he played in B-movies and did a bit of TV. So, in light of this, I was surprised that he not only starred in this film but directed it as well. Now having a cast full of mostly no-names might negatively impact most films, but with film noir, having these less familiar faces is great--as it adds to the realism.

Stevens plays a guy who was a cop. He's spent the last three years in prison for a crime he didn't do. The mob not only set him up but killed his family and disfigured his face. So, it's not at all surprising that now that he's out of prison, he's ready to exact vengeance against the guy responsible. The problem, however, is that through much of the film you really aren't sure who the culprit is--though Stevens' character sure seems to know and he's out to kill Tino Morelli (Douglas Kennedy).

The movie is a very good film about revenge gone amok. The characters turn out to be very complex and the villain worse than you'd expect to find--even in a B-film. Entertaining throughout and the only scene that I thought was poorly handled was the phone call to Stevens near the end--it just seemed contrived.

If you do watch, pay attention to the performance and character played by Skip Homeier--he's very memorable!! Also, while not exactly the same film, this one is very reminiscent of Gregory Peck's "The Bravados"--another exceptional film about revenge. See this one as well!

By the way, it's odd that this film was set mostly in Ketchikan, Alaska. Despite the city being inundated with cruise ships, it really doesn't look all that different today than it does in this movie. And, the fishing is quite good.

Cry Vengeance owes a debt to the previous year's Fritz Lang film The Big Heat. It too tells the tale of an honest cop whose family was killed in a mob-engineered explosion and who sets out as a crazed vigilante seeking redress. But while The Big Heat sizzles, Cry Vengeance stays tepid, perhaps owing to its sub-Arctic setting.

The star of earlier noirs The Dark Corner and The Street with No Name, Mark Stevens directs himself as the hate-twisted protagonist, just out of prison after being framed and losing his wife and daughter. (Stevens has aged visibly, and it's not just the scarred-face makeup his character sports.) Strong-arm tactics with plenty of karate chops elicit the information that the man he holds responsible has assumed a new identity in Ketchikam, Alaska. But not only is Steven's arrival expected, he's followed by a platinum-haired gunsel who's the real killer (Skip Homeier, who bears a resemblance to Lee Marvin, The Big Heat's sadistic torpedo).

Cry Vengeance matches its predecessor in brutality but comes up short everywhere else. Muddy photography wastes the scenic north, while the bland dialogue lacks the epigrammatic edge that's one of the joys of film noir (no "sisters under the mink" insinuation here as in Lang's film). The plot, with its double-crosses, needs a more baroque approach to sell itself.

On the whole, Cry Vengeance falls victim to the fatigue that, by 1954, was beginning to beset the entire noir cycle. Plots and characters amount, basically, to retreads. Joan Vohs, as Homeier's sozzled moll, couldn't have given this performance without Gloria Grahame's the year before in The Big Heat. With Stevens looking tired, too, it doesn't augur well for Cry Vengeance. But it holds distinction as the only film noir set in the Alaskan Territory, as Hell's Half Acre of the same year was the only one set in the Hawaiian (it wasn't until 1959 that statehood was conferred on both territories).

Mark Stevens was a leading player in B movies, and was an excellent cop in THE STREET WITH NO NAME (1948, see my review) and private eye in THE DARK CORNER (1946, see my review), both excellent noirs. Here he got his first chance chance to direct himself. Although he does well enough as a director in other respects, because he could not see himself he probably did not realize that he looked too grim throughout most of the film, never changing his expression during the early portions. This may have made sense in theory, because he a wronged man seeking vengeance, and grief-stricken at the death of his wife and child. But one cannot have a single expression for nearly an hour like that without it becoming monotonous. Stevens furthermore according to the story had to have a severely scarred side of his face, which meant that he could show very little emotion on his face in any case. The film was largely shot at Ketchikan, Alaska. Alaska was not even a state at that time, but still a Territory. This was an extremely unusual place to set a film in the 1950s. The location footage, especially the aerial footage, is thus of considerable historical interest, not least to the people who live there today. Mark Stevens went on to direct himself again in TIME TABLE (1956) and directed three more feature films and 50 television drama episodes in the nine years between 1956 and 1965. He last appeared as an actor in 1987, and he died in 1994 at the age of 77. This film is not outstanding, but it is nevertheless a contribution to the noir genre.