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I thought "Backfire" was an engrossing story, a noir told in flashbacks. The script was literate and had some snappy repartee customary of the genre. It was genuinely mysterious as injured war vet Gordon MacCrae searches all over Los Angeles for his missing buddy Edmond O'Brien. He comes across several dead ends and there seems to be no apparent answer for his predicament, or for a lead on the whereabouts of O'Brien.

Then came the ending. As so often happens in many movies, the screenwriters seemed stumped for a way to end their story, and resort to unsatisfactory circumstances that do not fit the rest of the plot and spring a ridiculous final scene on us that leaves us slack-jawed. They also leave us with unanswered questions and give us a chance at revenge via the IMDb website by awarding a lower rating than it was originally destined for.

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.

Although Gordon MacRae was signed for musicals by Warner Brothers, Jack Warner like the rest of his fellow Hollywood moguls did not believe in keeping players idle. With no musical properties at the ready, MacRae starred in Backfire about a World War II veteran trying to locate a friend whom the police suspect of murdering gambler Richard Rober.

The friend is Edmond O'Brien and MacRae thinks so because he got a woman visitor with a mysterious foreign accent while he was still all doped up on anesthetic from a final operation. The visitor turns out to be Viveca Lindfors and MacRae despite warnings from police captain Ed Begley is on the hunt, aided and abetted by his nurse Virginia Mayo who took a real liking to MacRae while in her care.

Backfire is not a mystery as such because the more MacRae looks, people get bumped off right and left. When MacRae is finally closing in on solving the mystery, the suspect is rather obvious.

For the most part however Gordon MacRae confined himself to musicals of varying quality and later on left the Hollywood scene altogether for nightclubs. Still he did show he could handle a straight acting job in Backfire and Warner Brothers did give him a strong supporting cast. Backfire still holds up well for today's audience.

A common cultural theme providing subtext for many a film noir was the alienation felt by servicemen returning from WWII to a world that had adapted itself to their absence. But that theme usually remained just that -- subtext. Rarely was it dealt with as overtly as in "Backfire," a modest entry in the genre from 1950, and this fact alone makes this otherwise forgettable film notable.

Bob Corey (Gordon MacRae) and Steve Connolly (Edmond O'Brien) are war buddies, Corey layed up in a veterans' hospital recovering from a spinal injury, Connolly sticking close and providing him moral support. The night before Corey's release, while in a drugged haze, Corey receives a visit from a strange, exotic woman (Viveca Lindfors), telling him that Connolly has been injured himself and is asking for Corey. The next day, as he leaves the hospital, Corey is pulled into the police station, where the head of the homicide bureau (Ed Begley) tells him of the murder of crime boss Solly Blayne and evidence incriminating Connolly as the chief suspect. Corey sets out to find his friend in an attempt to clear his name, aided by his girl Friday, nurse Julie from the veterans' hospital, played fetchingly by Virginia Mayo.

What's most interesting about "Backfire" is that though the film gives both men nominal love interests, they're much more interested in each other than either is about anyone else. It would be easy to read homosexual subtext into this film, as it is in many films noir, but it's not really played that way in the movie. The relationship between Corey and Connolly is that of two men who have had to rely on one another in literal life-and-death situations and who now do not know how to rely on anyone else.

It was refreshing to see MacRae in a film like this -- I only really knew him from his string of 1950s musicals, and he equips himself well. O'Brien, a frequent presence in films of this sort, is right at home. And Mayo is a doll, looking for all the world like a 1940s version of Laura Linney. The climax of the film is a rote shoot-em-up, but as always with movies like "Backfire," the journey is a lot more fun than the destination.

Grade: B

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.