It apparently re-enacts precisely the commission of the crime, the shock that it caused the community and the consequent state of alarm.
Cummings at the end-and only distinguishes the community as a "small city in Connecticut," it follows very closely the details of this extraordinary case, with a few questionable omissions and fabrications which mainly make it seem recent. And, with an eloquent deference to justice and an array of explosive facts, he argued against his own case and obtained the defendant's release.While the film carefully garbles true identities-until it cites Mr. Cummings at that time, sprang a shattering surprise by contending that the police evidence was unsound. When the case came to trial, however, the State's attorney, who was Homer S. The murderer escaped and no suspect or motive was immediately adduced, but eventually the police nabbed a young man against whom a circumstantial case was built up.
Y.)Actually, the basis of the story was the murder of a priest which occurred on a busy street corner in Bridgeport on a night in 1924. (That was Bridgeport, Conn., but for reasons of diplomacy, it was thought advisable to film the picture in Stamford, Conn., and White Plains, N. And, to heighten the illusion of actuality, they have photographed most of it in legitimate communities adjacent to that in which the basic case occurred. They have used an unseen narrator to describe many of the comprehensive scenes, inter-cut with the realistic dialogue, thus achieving, a news-view effect. They have put together a screen play which has the dispassion of a good journalist's report and they have filmed it with the steady observation of a newspaper cameraman. de Rochemont and his craftsmen, working for Twentieth Century-Fox, have eschewed the stale patterns and photography of conventional cops-and-courtroom films.
#Cast of boomerang full#
Producer Louis de Rochemont, who has distinguished himself in Hollywood by employing the "March of Time technique" in filming dramas based on actual events (as witness his "House on Ninety-second Street" and "13 Rue Madeleine," has now used this realistic method to tell the story of a celebrated murder case-or a modernized image of it-in his latest film, "Boomerang!" And, to give this new picture at the Roxy its full theatrical due, we must say that this style of presentation has resulted in a drama of rare clarity and punch.For Mr.
0 kommentar(er)
