The Fallen Sparrow (1943)

Directed by Richard Wallace; produced by Robert Fellows

Having been captured by the Nationalists while fighting in the Spanish Civil War, John ‘Kit’ McKittrick (John Garfield) returns to the United States to find out who killed his friend, a New York police officer. Since he helped McKittrick escape from his jailers, the man’s death may have something to do with Spain, though how closely events in the U.S. are tied to what happened to McKittrick in the war, the latter can only guess.

The Fallen Sparrow has the feel of a Hemingway story, though the plot seems rather too convoluted for that origin. It is also a movie that could have had Humphrey Bogart as its lead. It is, however, very well-served by Garfield, who gives a more vulnerable performance than Bogart might have. That’s not to write that the latter could not have done as well - he was a far better actor than many of his roles, performed as if without effort by the man, imply - but Garfield’s weaknesses are more openly seen. Indeed, they are necessary to the story, and thus must be shown both convincingly and unmistakably.

The acting is the strongest part of The Fallen Sparrow, as the characters are interpreted interestingly. The viewer may have little difficulty in determining the principal villains, but who may be assisting them, whether they are being helped willingly or otherwise, and who will pay for it and how, are all factors conveyed more by the characters than by the plot.

Maureen O’Hara does well as a woman who clearly has something to hide, and her behaviour is greatly influenced by it. John Miljan has an enjoyable part as a police detective who appears to have trouble believing McKittrick’s intentions, while hiding his own. And that’s John Banner (Sergeant Schultz from tv’s Hogan’s Heroes) looking as a young man very much like comic-actor Bill Murray.

The plot starts off as a standard film noir story-line: a man coming to town to look into, and possibly avenge, a friend’s death. More important than that, however, is McKittrick’s background, and the reason why he was held by the Nationalists in Spain and tortured. It revolves around a battle standard but becomes less plausible as the movie progresses. Though I can fully appreciate the moral value of a symbol, it is never really explained why the symbol in question is important. Nor is there an explanation of its connection to the coat-of-arms of an expatriate French aristocrat.

Of note is the editing, by future famed director Robert Wise. He interestingly fades to black a number of scenes at dramatic or tense points, especially when McKittrick’s highly strung nerves force him to re-live his torture. This technique gives insight into the protagonist’s damaged psyche that needs no words.

The Fallen Sparrow is an entertaining thriller, rather let down by its writing, which is ordinary on the one hand and incredible on the other. It is, however, redeemed enough by its performers to recommend.