Today, as part of our “Kazan Redux” series, we’re going to re-review director Elia Kazan’s third film, “Boomerang.” The movie was important for Kazan because, while the story was unremarkable and the ham-fisted conclusion was flawed, it established a precedent for filming on-location and using non-actors. Watching the movie once again in preparation for this re-post was a pleasure despite its shortcomings.
The review below was first posted on December 25, 2016 and has been slightly revised.
Directed by Elia Kazan and featuring Dana Andrews, Jane Wyatt, Lee J. Cobb, Arthur Kennedy, Cara Williams, and Karl Malden
20th Century Fox, 1947, 88 minutes
Fox producer, Louis de Rochemont, creator of “The March of Time” theatrical monthly newsreels and father of the “film noir” genre, enlisted Elia Kazan to direct “Boomerang.” De Rochemont’s movies were filmed on location and included non-actors to help achieve a semi-documentary sense of realism. The experience of directing “Boomerang” would have a profound effect upon Kazan’s career.
A popular Episcopalian* priest, father George Lambert (Wyrley Birch), is murdered in cold blood on a busy street corner of a small Connecticut city. As days go by without an arrest, a daily newspaper controlled by the ousted conservative (Republican) party foments public indignation. Demands for the newly elected reform (Democrat) government to find the killer reach fever pitch. A suspect, John Waldron (Arthur Kennedy), is finally arrested and police chief, Harold “Robbie” Robinson (Lee J. Cobb), coerces a confession. As the district attorney, Henry Harvey (Dana Andrews), prepares to prosecute the case, he uncovers some disturbing evidence that seems to exonerate Waldron. A corrupt reform government official, Paul Harris (Ed Beagley), fears that drawn out court proceedings will expose a pending illegal property deal and he threatens Harvey to press for a conviction. While presenting the evidence against Waldron, Harvey defies all proper courtroom protocol (you’ll have to see it to believe it) to conclusively prove the accused wasn’t the murderer, prompting Harris to commit suicide. At the film’s conclusion, the audience learns from the narrator that the actual killer (a mentally disturbed man who stalked the courtroom during the trial) was the victim of a fatal auto accident and that the honorable DA went on to become the United States Attorney General.
“Boomerang,” Kazan’s third film, was loosely based on the unsolved murder of Catholic priest, Hubert Dahme, in Bridgeport, Connecticut in 1924. Filming was done in nearby Stamford rather than Bridgeport because of legal difficulties. “Boomerang” is often included in the film noir category although purists would object that it doesn’t meet all the criteria. This is a so-so story but the film is considered a significant step for Kazan because of it’s on-location, docu-drama realism. The cast is pretty good although leading man, Dana Andrews, plays his single pensive note throughout, looking most natural with a drink tumbler in his hand as Kazan later pointed out. Jane Wyatt (“Father Knows Best”) portrays Harvey’s naive wife who stays busy primarily serving drinks to “the boys.” Lee J. Cobb is outstanding as the tough-as-nails police chief while corruption oozes out of every one of Ed Beagley’s sweaty pores. Cara Williams (baby boomers will remember her from the early-60s TV show, “Pete and Gladys”) plays an excellent femme fatale as Waldron’s ex-girlfriend. Sam Levene gives an entertaining performance as the wily reporter from the opposition newspaper. Yes, that’s playwright Arthur Miller making a cameo in a police lineup and Kazan’s elderly Uncle Joe plays a small part as one of the witnesses. Numerous Stamford locals were featured in the film. Many of Kazan’s future movies would employ the on-location, docu-drama techniques that he first utilized in “Boomerang” as he continued to move further towards realism.
The ending of this movie is quite unsatisfying. Everyone exits the courtroom applauding the DA for exonerating an innocent man, but they all seem to have forgotten that the killer remains at large. It’s also a bit unbelievable that Harris’s courtroom suicide didn’t seem to faze anyone after the gunsmoke had cleared. Richard Murphy’s script was inexplicably nominated for an Oscar.
“Boomerang” is an indictment of both political parties for corruption and some have also suggested the film was Kazan’s thinly-veiled critique of the House Un-American Activities Committee (HUAC) and its politically-motivated “witch hunts.” Kazan was eventually pressured to testify before HUAC as a friendly witness in 1952, earning the wrath of liberals throughout the remainder of his life.
The recently released Blu-ray edition of “Boomerang” includes two interesting audio commentary tracks; one from film noir historian, Imogen Sara Smith, and the other by film historians, Alain Silver and James Ursini.
Additional thoughts from a believer’s perspective
The priest’s murderer nervously watches the courtroom proceedings hoping Waldron is convicted in his place. When the case against Waldron collapses, the killer flees the courtroom in a panic.
We are all guilty of breaking God’s commandments and we all deserve eternal punishment. We can’t hide our sins from an omniscient and holy God. But God loves us so much He sent His Son, Jesus Christ, to pay our sin debt on the cross of Calvary. Jesus rose from the grave, defeating sin and death, and offers eternal life and everlasting fellowship with God to all those who accept Him as their Savior by faith alone. Christ paid your penalty so you could go free. Will you accept Him as your Savior?
*In my original review, I mistakenly wrote that George Lambert was a Catholic priest, but after watching the movie again, I noted that he was referred to as an Episcopalian priest in one scene.