Gesetzlos

This was an interesting film featuring Edmund O'Brien as a man who seemingly disappears while being investigated for murder. Virginia Mayo plays the nurse of O'Brien's friend, Gordon MacRae who is laid up in the hospital after having multiple spine surgeries. MacRae was wounded in battle during WWII. It is not exactly said how long MacRae was in the hospital, but it was seemingly a long time--long enough for O'Brien to disappear, MacRae and Mayo to fall in love, and the very involved storyline to have taken place. I was also interested in seeing MacRae in a noir. Prior to this, I'd only seen the films he made with Doris Day. MacRae and Mayo are the stars of Backfire.

In this film, they team up to locate O'Brien and determine if he really committed the crimes he's been accused of and to see if he still has MacRae's money. MacRae and O'Brien had planned to pool their funds and build and operate a ranch in Arizona after MacRae's out of the hospital. Most of the film's narrative is told via flashback as MacRae and Mayo meet and talk with people who saw O'Brien. When the characters are introduced, they tell a flashback as to how they knew O'Brien. Each of these stories provide clues as to the reason behind O'Brien's disappearance and also provide clues behind who could have possibly committed the murder(s) O'Brien is accused of. The narrative bounces back and forth between flashback and current time as MacRae and Mayo investigate O'Brien's disappearance.

I thought this was a pretty decent noir and I especially liked the ending. Dane Clark (in a very surprising role), Ed Begley, Viveca Lindfors, and MacRae's wife, Sheila, round out the cast.

Bob Corey, a war veteran recovering in a V.A. hospital for a spinal injury, becomes alarmed when his war buddy Steve Connolly vanishes. One night while under sedation his visited by mysterious woman who informs him that Steve has been seriously injured and is in trouble with the law. Bobs nurse convinces him its all a dream. But when Bob is released from the hospital, he is questioned by police who want to know if he knows where he thinks Steve can be found. The police inform Bob that Steve is suspected of killing a gambler. Bob then sets out to find Steve and find the real killer. Along the way bodies pile up and Bobs search for leads him into the clutches of mysterious mobster named Walsh.

BACKFIRE! is a well directed, photographed and acted noir mystery which holds one interest throughout. The ending comes as quite a surprise when the identity of Walsh is revealed. The cast is excellent, including many of the minor players. It was nice to see Virginia Mayo playing a good girl for a change in a film like this. The writers of this film must have had an obsession with spinal chord injuries, since both male leads suffer such injuries during the film.

The dislocation felt by returning servicemen was one of the chief topical themes of the film noir cycle. After being primed to take risks but no prisoners in the anarchic and violent theaters of World War, many found it hard to ratchet back down upon their return to an often jarringly altered society. Amnesia was the primary noir metaphor -- having to reconstruct an entire past life from scratch. Others faced having to cope with disabilities; still others, having spent the "best years of their lives" in hellholes abroad, weren't about to wait for the high life on the installment plan.

Backfire forgoes amnesia for the latter two categories. Gordon MacRae recuperates from spinal-cord injuries in a veterans' hospital until he can get out and buy a ranch with army buddy Edmond O'Brien, who abruptly vanishes. Upon release, MacRae sets out to track him down through the labyrinthine underbelly of postwar Los Angeles. It looks like O'Brien got mixed up with heavy gamblers, and is in fact wanted for apparently murdering a syndicate kingpin. MacRae is aided in his quest by his nurse (Virginia Mayo, good as a good gal for once) but thrown off the trail by a mysterious foreigner (Viveca Lindfors, as a discount-chain Ingrid Bergman). But, as always in the noir scheme, things are rarely what they at first seem....

No masterpiece, Backfire nevertheless keeps up the pace and the suspense, drawing (like Somewhere in the Night) on themes and formats that were central concerns of the cycle.

Backfire (1950)

A complicated, interesting and sometimes forced story about two ex-G.I.s with dreams of a ranch. But the realities of post-War America set in, with shades of old gangsterism (this is a Warner Bros. film, remember) and with siren calls from lonely women and a murder unexplained. The story is made more complicated (and interesting) by layering a number of flashbacks into the flow, and you have to really pay attention to keep the chronology straight. But this is a plus, in the end, because it's a richly dense movie you could easily watch a second time. Just the range of scenes is ambitious, from gorgeous pouring rain at night to a boxing arena to a sunny army rehab swimming pool to, of course, a detective's office. The photography (under Carl Guthrie) layers up many scenes, some are visually sensational (he also shot the great "Caged" a few months later).

Viveca Lindfors makes some stunning appearances here as Lysa, and you can see why Hollywood thought she might make a new Swedish import like Ingrid Bergman. And she can act, too, with an emotional intensity and range that makes you wonder why her career didn't, in fact, take off. Almost to set her off as the mysterious brooding beauty, the lead woman is the cute, cheerful, all American Virginia Mayo, who plays nurse and friend Julie perfectly. In a way you see in just these two how well cast, and typecast, two women can be, and how the director, Vincent Sherman, works so well with their differences, though we all wish for more of Lindfors.

Likewise for the two leading men. The main star is a pretty boy, and a decent actor, Gordon MacRae as Bob, but MacRae lacks presence and magnetism, and maybe true ability. At first we accept this because Bob is just lying in a hospital bed, with Julie cheerfully attending. But then up he gets, pain all gone, and the real movie starts. His best friend is the underrated noir staple Edmond O'Brien, who isn't pretty at all, but trying, I think, to be something of a Bogart, a regular guy named Steve, with guts and depth and reserve.

With Lindfors, he's still the best performer here, and they have a few scenes together that are the best acted, if not the best written, parts of the movie. If we take the Bergman/Bogart comparison out of "Casablanca" to an extreme here with Lindfors/O'Brien in "Backfire," we can see their scene by the piano as a kind of wartime flashback, shoehorned into the movie for no good reason except to say they must be fated to meet and fall in love. But this isn't easy when someone else already loves the girl, and that someone has a gun, and a warped mind.

Why exactly this doesn't all come together is one of the mysteries of the movies, where there are so many pieces to a puzzle that contribute successively, and concurrently, and getting them perfect is really really hard. Ultimately it's the director we look to for the big decisions (as well as the day to day control), and Sherman had shown once before his mastery of a complex story in "Mr. Skeffington." In a way, this one is just so fractured, following the film noir penchant for flashbacks and femme fatales and confusing plots, it would take a miracle, or a Michael Curtiz, to pull it off (I'm thinking "Mildred Pierce" more than "Casablanca" here).

Still, it's a great film to get lost in, and to pull out the subtleties where they really work well.

Vincent Sherman was a solid director, but unfortunately, he missed the boat with "Backfire" because a backfire it was and went unreleased for two years. By the time it was released, Edmond O'Brien had enjoyed some big success - but in this, he doesn't have much of a role.

Actually, the beginning of the movie is the best part. O'Brien is Steve Connelly, just back from the war and hoping to buy a ranch with his wartime body, Al Corey (Gordon MacRae). Al was badly injured and has been in the hospital a while. Steve takes off and says he will contact him. But eight weeks go by, and no communication.

One night, while Al is asleep in the hospital and they have given him something to help him sleep, a woman rushes into his room and wakes him up. She tells him that Steve has been injured, he's in terrible pain, and he wants to die. She doesn't know what to do.

Groggily, Al tells her that he is due to be released soon, and Steve should hold on. He points to a pad where she can write down the address. In the morning the paper is blank, and Al's nurse (Virginia Mayo), among others, is skeptical about his story.

Once released, Al sets off to find Steve. He walks into sticks of dynamite getting ready to explode. He learns that Steve became involved with gamblers, and is wanted for murder of a big shot who wanted what he believed was owed him.

The problem is that once they started in on the flashbacks, the film became confusing. Most of the time going back and forth like that in a film is easy to follow, but for some reason, this wasn't.

The film also stars Dane Clark as another war buddy and Viveca Lindfors who is involved with someone named Lou Walsh, a mystery figure responsible for a great deal of mayhem.

"Backfire" seems too long at 91 minutes because the pace was off. MacRae did an okay job but he needed a little more guidance; this would never be his milieu. Viveca Lindfors is stunning -- it's a shame her film career didn't carry her further, but she wasn't one to play Hollywood games. She was an award-winning stage actress and for some time did a one-woman show that toured around the country. Even into old age she did television and small roles in films.

A disappointment all around.