Film Review: Boomerang! (1947)

Dark realities of Second World War affected Hollywood, most notably in the new ways its film covered crime. Apart from the style that would later become known as “film noir”, another was strive for realism and authenticity. Such works were called “semi-documentary” and one of the best known among them was Boomerang!, 1947 film directed by Elia Kazan.

The script by Richard Murphy is based on real events that took place in Bridgeport, Connecticut in 1924. The plot is, however, switched to contemporary Stamford, Connecticut, which is in narration by Reed Hadley described as “ordinary American town”. The seemingly idyllic community is rattled by fatal shooting of Father Lambert (played by Wirley Birch), popular Episcopalian priest who was one of the pillars of the community. Despite the event being witnessed by number of people who even tried to chase the killer, investigation led by police chief Harold F. “Robby” Robinson (played by Lee J. Cobb) fails to get a credible suspect. This create a lot of political pressure on town’s leadership, further increased by local newspaper and cynical reporter Dave Woods (played by Sam Levene). After few weeks the search for suspect ends when Ohio authorities arrest John Waldron (played by Arthur Kennedy), unemployed war veteran and drifter who fits physical description by witnesses and whose gun matches the murder weapon. After being put to long and relentless interrogation, Waldron confesses the crime. He is to be prosecuted by Henry L. Harvey (played by Dana Andrews), State Attorney who is told that he could be elected governor if he secures conviction. Although this seems to be a “perfect case”, Harvey begins to have a second thoughts and wonder if the man in custody is indeed a killer. His doubts begin to affect his relations with friends and political allies.

Boomerang! was made by 20th Century Fox and produced by famed studio executive Daryl F. Zanuck and Louis de Rochemont, creator of Wheel of Time newsreels. The latter has pioneered “semi-documentary” crime films with his 1945 FBI propaganda piece House on the 92nd Street. Same style is applied here, with script trying to match actual historical record as much as possible and Elia Kazan trying to shoot at locations instead of studios. Authorities in Bridgeport, however, refused to give permission for shooting so Kazan made his film in neighbouring Stamford. Kazan, who was, like many film makers of his generation, left-wing, apparently found the end of Second World War as perfect opportunity for America, after defeating foreign foes, to try dealing with some of their internal problems. Boomerang! allow some dark truth about American society to slip through censorship of Hays Code, most notably in the scenes when Chief Robinson, portrayed as world-weary and cynical, but ultimately professional, policeman rescues Waldron from lynching and disregard suggestion of his subordinate to extract confession through “more direct” means. But the issue that is even more critical is political corruption – Stamford is described as town under new reform-minded administration and media crusade against seemingly incompetent police is motivated less by public interest and more because of vendetta of its political opponents. However, even the reformists have some rotten apples in their ranks, and they are represented by character of Paul Harris (played by Ed Begley), businessman who fears that he would be ruined if the administration isn’t re-elected and even threatens Harvey if he doesn’t secure it by doing what is expected of him. This subplot enters the film relatively late and is a too melodramatic for what would otherwise be a surprisingly authentic crime story for 1940s Hollywood standards.

Kazan’s orientation towards authenticity can be seen in trying to stick to basic details of the story, although some of the details have been changed. Real victim, Reverend Hubert Dahme, was Catholic instead of Episcopalian, while the suspect Harold Israel was First World War veteran. Nominal protagonist Henry L. Harvey is based on Homer Cummings, highly respected lawyer and politician who served as US Attorney General during first six years of Franklin Roosevelt’s administration; this is actually stated by narrator at the very end of the film. Narration also states that the murder case was never solved, which allowed Kazan to circumvent Hays Code and its rules about crime always being punished. Instead, Kazan even speculated about real killer and his motives during scenes in which Father Lambert talks with seemingly respectable but clearly disturbed citizen Jim Crossman (played by Philip Coolidge). Boomerang! has good cast, with Karl Malden, one of the most recognisable character actors of mid 20th Century Hollywood, in his early roles as one of the detectives. Dana Andrews, who was at the zenith of his stardom, however, looks a little bit too Hollywood-like for the protagonist of this gritty crime story. Despite those shortcomings, Boomerang! is a well-made film that should be recommended despite working better as a history lesson than a crime film.

RATING: 6/10 (++)

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