El justiciero

The names are changed and updated, the story takes place post World War II instead of World War I. But Boomerang is the story of how the man who eventually became United States Attorney General, Homer Cummings, used his prosecutorial office to prove the INNOCENCE of an arrested murder suspect. How often do you see that happen?

In fact Boomerang is a primer for those people who wonder how the Supreme Court under Earl Warren could render such decisions as Escobedo and Miranda which set a few ground rules about interrogating a suspect. Today poor Arthur Kennedy who plays the veteran accused of murdering a priest in cold blood might have lawyered up and never given the confession in the first place.

Under a different name Cummings is played by Dana Andrews with Jane Wyatt as his wife. Lee J. Cobb and Karl Malden play the investigating police detectives who do a thorough job and apparently have gotten their man. What the crime consisted of was person unknown in the evening hours on one of the town's main streets firing a pistol into the back of the head of a popular clergyman in the town. Several witnesses do see it, but none are close enough to really be sure.

One witness nearly sinks Kennedy, but when Andrews questions Kennedy before the trial and he tells her that waitress Cara Williams is mad because he dumped her, that sets Andrews thinking about his case. His examination of her on the stand is devastating.

The film was directed by Elia Kazan who got the New York Film Critic's Award for this and his work on Gentleman's Agreement. This was a banner year obviously for Mr. Kazan. Boomerang got one Oscar nomination for Best Screenplay for Richard Murphy.

After over 60 years Boomerang holds up very well and should be required viewing for those attorneys who wish to become prosecutors. It ain't all about another notch in the belt.

Elia Kazan's 1947 docudrama Boomerang dramatizes the courage and independence of a Connecticut States Attorney who stood up to political pressure and fought for dismissal of charges against a defendant accused of murder because he wasn't convinced of his guilt. The film (which I first saw as a boy) is based on an actual killing that took place in 1924 in which a popular parish priest was shot on a main street in Bridgeport, Connecticut in full public view. In spite of the public nature of the killing, the murderer escaped and no suspects were immediately apprehended. Using an unseen narrator to provide background information, the film achieves a hard-hitting realism, conveying the feeling that you are watching events as they unfold.

Produced by Louis de Rochemont, well known for films dramatizing real events such as "House on 92nd Street" and "13 Rue Madeline", performances are uniformly excellent, particularly those of Dana Andrews as Henry Harvey, the idealistic States Attorney, Lee J. Cobb as Police Chief Robbie Robinson, Arthur Kennedy as John Waldron, the ex-GI murder suspect, and Ed Begley as the corrupt Commissioner Paul Harris. The film stays fairly close to actual events with the exception that the States Attorney is shown as an unknown lawyer looking to make a name for himself not the nationally known former Mayor and candidate for US Senate.

Boomerang begins with a description of the crime and then in a flashback shows the priest asking his assistant to get help for his unstated problems and threatening to have him confined in a hospital. This thread is left hanging but Kazan tantalizes the viewer, suggesting without offering any evidence that the troubled assistant had a motive to kill the priest. When the investigation stalls, pressure is put on the police to come up with a suspect and Dave Woods (Sam Levene), a local newspaper reporter, runs a series of stories criticizing the City government for its inaction in hopes of achieving political power for the paper's owner.

After innocent people are arrested simply because they wore clothing that resembled what the killer is alleged to have worn the night of the murder, a disheveled veteran, John Waldron (Arthur Kennedy), is arrested in Ohio in possession of a handgun and returned to Connecticut. Several eyewitnesses pick out Waldron as the killer and the bullet is identified as coming from Waldron's gun. When Police Chief Robinson (Lee J. Cobb), finally extracts a confession after grilling Waldron for many hours, the case seems open and shut.

At the preliminary hearing, however, Harvey is guided by the legal code of ethics that the prosecutor's job is not to gain convictions but to see that justice is done and has doubts about the evidence, arguing against a conviction. Most of the film's dramatic moments take place in the courtroom but there is a back story involving municipal corruption, a theme that Kazan would visit again ten years later in "A Face in the Crowd".

The shocking turnaround by the States Attorney does not sit well with party official Paul Harris (Ed Begley) who invested his savings in a corrupt land deal and needs the present government to remain in power to buy that land from him. Fearing economic ruin, he threatens Harvey and insists the prosecutor try to convict Waldron whether or not he is innocent. The prosecutor remains steadfast, however, and the intense courtroom drama keeps us riveted until the surprising outcome is revealed.

This film is one of Elia Kazan's early efforts as a director. He presented this story in the semi documentary style pioneered by producer Louis DeRochemont in his "March of Time" short subjects and brought to full length status in Henry Hathaway's "The House on 92nd Street".

In filming this true story, Kazan took his cast and crew to a small Connecticut town similar to the one that the story occurred in. This concept was very effective.

Dana Andrews plays Henry L. Harvey, a Connecticut States Attorney who is prosecuting a particularly sensitive case in which a local revered priest was murdered and a homeless drifter was arrested for the crime after an exhaustive search in which the local police was criticized by both the media and local politicians. When Harvey begins to have some doubts, his case "Boomerangs".

The story is riveting from start to finish and the style Kazan uses adds even more credibility to it. (Kazan used on location filming a few years later in making "Panic in the Streets" and it was just as effective even though the story was fictional).

The acting is first rate. Supporting Andrews is Arthur Kennedy as the suspect, Lee J Cobb as the chief of police, Sam Levine as a reporter who knows all, and Robert Keith as a political leader (his son Brian, who later became a bigger star than his father, has a bit).

"Boomerang!" is a film made during the time when Hollywood was growing up. It's a provocative story about our judicial system that even when viewed today makes you think. And it's done to perfection

Boomerang! (1947)

In some ways this is an intensely well made and satisfying film, and when you have Dana Andrews in the lead role combined with Elia Kazan directing, and throw in first rate character actor Lee J. Cobb, you have something worth watching.

It's nice early Kazan, but it stumbles at times, and never lifts off, never gels. Here's why.

First of all, it's based (very closely) on fact, and sometimes the facts are dramatic but not necessarily good drama. Hamlet, if it were straight documentary truth, would probably shock more and enchant less. And so here, we start with a horrifying crime which takes the viewer quite by surprise. Then, in a continuing voice-over documentary style, we are launched on a huge manhunt. Facts are gathered, suspects suspected, policework unleashed, all acted and congealed very intelligently. A large twist occurs (with something of a stutter, dramatically), and then we are in a different kind of drama, a courtroom battle, with Andrews playing the unlikely role of prosecutor looking for the actual truth in a case rather than a conviction.

And then the court battle ends, and the movie sort of drizzles to a stop. And you might well say (as I did), "How like life." Or something equally unexciting. It's not a like a neo-realist hyper real movie, using amateur actors and so on. No, it's just an adapted true life crime story that might have been something more. For two sides to this coin, I'd first mention Kazan's own "On the Waterfront" which uses a real life kind of scenario but turns it into a dramatic masterpiece. And then some harder hitting reality movie like "The Phenix City Story" (1955) shows what a dramatic version of the truth, unchanged, might look like.

Of course, Kazan and crew are experts, and this is no dud. Andrews, if he is your taste, is in great form, really, within his shifting role. And the supporting cast does wonders, as cops, and as regular people, which this movie is ultimately about. Recommended, yes, but with expectations in line with, uh, reality.

In Connecticut, a well-known priest is murdered by a man on the street and flees. The politicians and the police are pressed by the society to find the killer, but the Chief of Police Harold F. "Robbie" Robinson (Lee J. Cobb) has no clue despite the witnesses. When the former soldier John Waldron (Arthur Kennedy) that has fought in the World War II is captured in another town, the witnesses identify him as the killer and he is forced by Robbie and his men to sign the confession of murder. The he claims innocence, but everybody believes he is the killer. However the righteous State's Attorney Henry L. Harvey (Dana Andrews) finds inconsistent evidences and decides to investigate against the opposition of the politics and the society.

"Boomerang !" is a film based on a true story about the morality and honesty of a State Attorny that risks his career to prove that a man is innocent and scape goat of a political situation. The plot is engaging and holds the attention of the viewer. It is beautiful to see the story of men like the lead character that faces the Powers That Be to keep his ethic and principles. My vote is seven.

Title (Brazil): "O Justiceiro" ("The Righteous Man")