Ripped From the Headlines, Part III: True Stories About Dangerous Characters, Corrupt Officials and Gangs of Criminals Who Hold the Public at Bay

John Dall, Peggy Cummins, “Gun Crazy” (1950).

By Paul Parcellin

It only takes a couple of desperate, determined outsiders with a gun to start a crime wave. At times, a single perpetrator can do the work of two — or more. That’s what happens in several of the films based on true stories that make up this, the third and final part of the True Crime Noir series. Many more films could have been added to the roundup, and we may look at some of those at a later date. 

Included here, among bonafide noir fare, is a neo-noir. Some might say that the neo-noir movement/genre/style (or what have you) begins in the 1970s — to that sort of hair splitting I say, “Balderdash!” A film’s mood, story and message are the determining factors that tell us if it’s a noir, neo-noir, or something else. Therefore, the last film mentioned in this essay is decidedly noir despite its 1960s pedigree. Besides, it was shot in glorious black and white.

So, here is another handful of films based on true crimes. Some show how politics, corruption and unbridled malevolence conspire to unleash a wave of terror upon an unsuspecting public. And they often leave us with a picture that is unsettling, to say the least.

Some spoilers are scattered throughout, so you might want to see the films before reading the article. 

Peggy Cummins, John Dall, “Gun Crazy.”

“Gun Crazy” (1950)

The film “Gun Crazy” (1950) is not based on a single specific true story, but it is inspired by a number of real-life cases of couples who went on crime sprees.

One of the most famous cases is that of Bonnie Parker and Clyde Barrow, who were active in the 1930s. The young couple robbed banks and other businesses, and became folk heroes to some. Director Arthur Penn made “Bonnie and Clyde” (1967), a hugely successful adaptation of the larcenous pair’s story that helped open the door to Hollywood’s golden age of the 1970s.

The case of Raymond Fernandez and Martha Beck, known as the "Lonely Hearts Killers" also inspired “Gun Crazy.” The pair met through a lonely hearts club, began a relationship and went on a crime spree, killing several victims. Their story was later made into the film, The Honeymoon Killers (1970).

“Gun Crazy” also draws inspiration from the life of George "Machine Gun" Kelly, a notorious gangster who was active in the 1930s. Kelly was known for his love of guns, and he was eventually arrested and convicted of murder. 

A cautionary tale, “Gun Crazy” warns against the dangers of all-consuming obsession. The trigger-happy Bart Tare (John Dall) and sideshow sharpshooter Annie Laurie Starr (Peggy Cummins) are both obsessed with firearms and are willing to do anything to get their hands on them. The doomed couple’s string of armed robberies leads them to commit murder, and finally, they come to a violent end.

The film is seen by some as a critique of American culture and the glorification of violence and guns. “Gun Crazy” is highly appreciated for the cinematic craft employed to make such an impressive and durable cinematic work that was shot for comparatively little money. One of the standout scenes is that of a holdup. Director Joseph H. Lewis positioned a camera in the back seat of the getaway car and shot a long take of the robbers making their escape. The creative camera placement influenced many directors. Quentin Tarantino has said that “Gun Crazy” is one of his favorite films and has cited it as an influence on his films “Reservoir Dogs” (1992) and “Pulp Fiction” (1994). Martin Scorsese has also cited “Gun Crazy” as an influence, and has said that he was inspired by the film's stylish cinematography and its depiction of violence.

Dana Andrews, “Boomerang!”

“Boomerang!” (1947)

“Boomerang!” is based on the true story of Harold Israel, a 20-year-old army veteran who was accused of the 1924 murder of a priest in Bridgeport, Conn. In the film, Assistant District Attorney Thomas B. Wade (Dana Andrews) is assigned to prosecute Israel, renamed John Waldron (Arthur Kennedy) in the film.

The real case began on the night of Feb. 25, 1924, when the Rev. Hubert Dahme, a popular parish priest, was shot and killed on a busy street corner in downtown Bridgeport. The police quickly arrested Israel, 22, who had a history of petty crime. He confessed to the murder, but later recanted, claiming that he had been coerced by the police.

The prosecution's case against Israel was circumstantial. There were no eyewitnesses to the murder, and the only physical evidence linking Israel to the crime was a gun that was found near the scene of the crime. However, the gun had not been fired, and there was no way to prove that it was the murder weapon. Israel’s confession came after a long police interview. The accused said he confessed because he wanted the grueling interrogation to end.

The defense argued that Israel was innocent and that he had been framed by the police. They pointed out that Israel had no motive for the murder, and that he had no history of violence.

Homer Cummings, state attorney for Fairfield County, said that the case against Israel looked perfect. But on May 27, 1924, just 15 weeks after authorities charged Israel, Cummings walked into a Bridgeport courtroom and shocked everyone present by declaring the murder charges against Israel would be dropped. Cummings, after meticulously reviewing the case against Israel, found it seriously flawed.

In the film, we see the machinations of corruption taking place behind the scenes. Those with political ambitions vigorously sought a conviction. One well-placed official involved in a crooked land deal is desperate to cover that up. A guilty verdict would ensure that the right people stay in power and shield him from prosecution.

Wishing to avoid negative publicity, Bridgeport, Conn., officials refused to let director Elia Kazan film in that city, where the crime took place. Instead, Stamford, Conn., stood in for Bridgeport. The film won two Academy Awards: Best Writing (Original Screenplay) for Richard Murphy and Best Supporting Actor for Karl Malden. 

Frank Lovejoy, William Talman, Edmond O'Brien, “The Hitch-Hiker.”

“The Hitch-Hiker” (1953)

In 1950, Billy Cook murdered a family of five and a traveling salesman, then kidnapped Deputy Sheriff Homer Waldrip from Blythe, Calif. Cook ordered his captive to drive deep into the desert, where he bound him with blanket strips and took his police cruiser, leaving Waldrip to die. Waldrip got loose, however, walked to the main road, and got a ride back to Blythe. Cook also took hostage two men who were on a hunting trip.

“The Hitch-Hiker” is based on that real-life murder spree. The film follows the story of two friends, Roy Collins (Edmond O'Brien) and Gilbert Bowen (Frank Lovejoy), who are on their way to Mexico for a fishing trip. They pick up a hitchhiker, Emmett Myers (William Talman), who turns out to be a dangerous psychopath. Myers forces the men to drive him to Mexico, and along the way, he murders a gas station attendant and a police officer.

The film, a suspenseful thriller, explores themes such as fear, paranoia, and the dark side of human nature. Ida Lupino, one of the few female directors working in Hollywood at the time, helmed this film and co-wrote the screenplay. She brought a unique perspective to the film, exploring the characters’ psychology and the dynamics of the relationship between the two friends.

“The Hitch-Hiker” was a critical and commercial success and it is considered one of the more thrilling and well-crafted noirs. Solid performances by O'Brien, Lovejoy, and Talman, as well as Lupino’s hard-hitting direction make it stand out in the pantheon of American noir.

The film is also notable for its realistic depiction of violence — the murders are graphic and disturbing, and they reflect the brutality of Cook's real-life crimes.

John Larch, Edward Andrews, “The Phenix City Story.”

"The Phenix City Story” (1955) 

True events surrounding the rampant corruption and organized crime that plagued Phenix City, Alabama, during the mid-20th century were inspiration for “The Phenix City Story.”

Set in the 1950s, the film paints a disquieting picture of a town beset by illegal gambling, prostitution, and political corruption. The story follows courageous local attorney Albert Patterson (John McIntire), who stands up to the powerful criminal syndicate that holds Phenix City in a hammerlock. Patterson's resolve to clean up the city and bring justice to the community drives the suspenseful narrative forward.

The real Phenix City was a den of corruption during this era. The town had earned a notorious reputation as a haven for criminal enterprises, attracting a range of illicit activities that were openly operated by the underworld. The film accurately captures the climate of fear and intimidation that pervaded the city, with citizens and officials alike living in constant danger.

The turning point in the true story, as depicted in the film, came with the assassination of Albert Patterson in 1954. His murder shocked the nation and galvanized public opinion against the criminal elements controlling Phenix City. Patterson's tragic death led to a massive outcry for reform and an end to the corruption that had plagued the town for years.

The subsequent events that unfolded closely mirror the events depicted in the film. The Alabama National Guard was brought in to restore order, and a determined effort was made to rout out and prosecute those responsible for the criminal activities. A series of trials resulted in numerous convictions, dealing a significant blow to the criminal syndicate.

Robert Blake, Scott Wilson, “In Cold Blood.”

“In Cold Blood” (1967)

“In Cold Blood” is a fictionalized account of the true story of the Clutter family murders, which took place in Holcomb, Kansas, in 1959. 

The film stars Robert Blake as Perry Smith and Scott Wilson as Richard "Dick" Hickock, two ex-convicts who rob and murder the Clutter family.

The real-life events that inspired the film began on Nov. 15, 1959, when Herb and Bonnie Clutter, their teenage daughter Nancy and their 15-year-old son Kenyon were found brutally murdered in their home. The Clutters had been shot and stabbed to death, and their bodies had been mutilated.

Hickock and Smith had been planning the robbery for months. They believed that the Clutters kept a large amount of cash in their home, and thought that the robbery would be easy. However, murder was not part of the plan. Hickock and Smith killed the Clutters in a fit of rage after they discovered that the family did not have as much money as they had thought.

The murderous duo were eventually arrested and convicted of the homicides. They were both sentenced to death and were executed in 1965.

The film's protagonist, Perry Smith, is a complex and troubled character who is struggling with his own demons. Although he comes off as a sympathetic character, he’s also capable of great violence. In time, we see what circumstances in their younger lives brought the two killers to their fate. We may not sympathize with them, but we understand how they came to follow such a destructive path. In the end, Smith says he wants to apologize for his crimes. Tragically, the victims are all deceased and there’s no one left to hear his words of contrition. 

“In Cold Blood” was praised for its realism and its psychological insights. It also helped raise awareness of issues surrounding crime and violence in America.

The Clutter family murders, one of the most notorious crimes in American history, were the subject of a best-selling non-fiction book by Truman Capote, who spent several years researching the case.

The Richard Brooks directed film was praised for its realism and insight into the killers’ psychological motivations. It serves as a disturbing reminder that those who are driven by their inner demons may be capable of committing acts of unspeakable horror.

You can also read Ripped From the Headlines Part I and Part II.