I can’t figure out–past being an inspiring melodrama–if the filmmakers were trying for anything with Boys Town. The question of its success as that inspiring melodrama is easily answered… it fails. The first act of the film deals with Spencer Tracy trying to get Boys Town, starting just as a home, started. It works pretty well, especially since there’s the heavily comedic interplay between Tracy and grudging benefactor Henry Hull. The Tracy and Hull relationship keeps up throughout the movie, which is nice, since Hull’s occasional presence in the late second act makes a lot of difference.
The problems start with the arrival of Mickey Rooney. It isn’t just Rooney, whose performance is affected and exaggerated (at times, it seems like he inspired Jack Nicholson’s Joker performance), but the present action’s lapse as well. An indeterminate period of time passes from the first act to the second and after the public service tour of Boys Town, the movie centers itself entirely around Rooney. Oh, there are some scenes with Tracy in there, worrying about the finances (which would have made a far more interesting story), but mostly Tracy’s just around to try to reform Rooney.
There’s also a significant problem with neon foreshadowing. When Edward Norris shows up what ought to be a brief presence, it’s very clear he’ll be important later on, so there’s nothing to do but wait for him to come back (and he does in an exceptionally contrived manner). Or precious Boys Town mascot Bobs Watson… he’s destined, from his second or third scene, to end up in a hospital bed for something.
A lot of the cheap storytelling undoes some fine acting. Tracy’s excellent, of course, though after a while, there’s nothing for him to do. Norris is good in his part and a number of the kids are good, particularly Frankie Thomas and Sidney Miller. There are no credited female performers (though some nuns eventually show up–another of the movie’s problems, establishing just how Boys Town actually runs) and their absence is felt.
Norman Taurog brings little in way of direction, but it doesn’t matter if he did, since editing miscreant Elmo Veron cut the film. Veron does an awful job, one so bad–even given Boys Town‘s other problems with artifice–he brings the production down a notch.
At some point in the film’s production timeline, it might have been a good idea (unless it was always just supposed to be a vehicle for Rooney) in addition to a well-intentioned one. But as it is, Boys Town is a failure. It misses telling the story it should and it doesn’t do a good job of telling the one it has (and shouldn’t bother telling).
CREDITS
Directed by Norman Taurog; screenplay by John Meehan and Dore Schary, from a story by Schary and Eleanore Griffin; director of photography, Sidney Wagner; edited by Elmo Veron; music by Edward Ward; produced by John W. Considine Jr.; released by Metro-Goldwyn-Mayer.
Starring Spencer Tracy (Father Flanagan), Mickey Rooney (Whitey Marsh), Henry Hull (Dave Morris), Leslie Fenton (Dan Farrow), Gene Reynolds (Tony Ponessa), Edward Norris (Joe Marsh), Addison Richards (The Judge), Minor Watson (The Bishop), Jonathan Hale (John Hargraves), Bobs Watson (Pee Wee), Martin Spellman (Skinny), Mickey Rentschler (Tommy Anderson), Frankie Thomas (Freddie Fuller), Jimmy Butler (Paul Ferguson), Sidney Miller (Mo Kahn), Robert Emmett Keane (Burton) and Victor Kilian (The Sheriff).
