Du sang sur le tapis vert

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.

Perhaps not the best of film Noir, but more than serviceable with a fine cast and a haunting performance by Viveca Lindfors. What a babe when young and quite exotic in this role. "Backfire" may well have been written with the matinée crowd in mind as it has many weaknesses, but the director, Vincent Sherman, was efficient in the sequences of action and brutality. Gordon McCrae was a little flat, but I think the studio was trying to give this singer the benefit of the doubt. That has always been the way of things in the movies: give the popular singers of the day a chance to become known in some other milieu. It might have worked better if Edmund O'Brian had played the lead, but such was not the case. Anyway, a slightly better than average trip down the darkened alleyways of Noir's mean streets.

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.

No need to recap the plot. Those first few scenes in the hospital are charming, when not also spooky. The chemistry between Mayo and McRae is so infectious, I expected them to burst into song at any moment. But then there's that spectral visitation at the foot of McRae's bed. It's expertly staged, surpassing in impact anything else in the film.

However, both the screenplay and the direction go downhill following this promising start. It's a complicated narrative whose alternating threads between flashback and real time are clumsily woven. At the same time, focal shifts between McRae and O'Brien further dislocate the viewer, (and why is Dane Clark given top billing with such limited screen time ).

At the same time, director Sherman doesn't appear to have a feel for the material, filming in flat impersonal style despite noirish touches from cinematographer Guthrie. Good thing that fine actor Eddie O'Brien is on hand to carry the acting department. McRae is handsome and likable, but without the needed gravitas of crime drama, while the ravishing Lindfors's best scene is as the apparition.

I like reviewer Brocksilvey's comments on the male-bonding aspects that I overlooked. In my experience, it's a very real part of military life and need have nothing to do with same sex attraction. Rather it has to do, I think, with the sharing of grueling experiences and the bonds thereby established, ones which can go deeper than more conventional types. Happily, the movie suggests the very sort of bonding Brocksilvey expresses.

Anyway, in my view, the movie's a passable crime drama, but nothing more.