Where the Sidewalk Ends Review

Where the Sidewalk Ends (1950)

Where the Sidewalk Ends is an extremely well made movie that only loses its impact when a production code ending is imposed by Fox studios on what otherwise is an impeccably told noir tale.

Directed by Otto Preminger, from a story by Frank Rosenberg and adapted for the screen by Ben Hecht. Otto Preminger is most notable for smooth camera moves and fewer cuts than other directors specializing in protracted tracking shots that wind their way through a set from room to room capturing long action sequences without a cut.  He had one of the best cinematographers in Joseph LaShelle, doing the camera and lighting work for Where the Sidewalk Ends.

Film noir gives a sort of left-handed view of life, usually focusing on the negative aspects of human activity. This one shows a rogue cop who uses the same methods as the thugs he is up against.

The protagonist is detective Mark Dixon (Dana Andrews), one of the natural film noir actors. Dixon’s prey is local gangland kingpin Scalise (Gary Merrill), a real wiseguy and unlikable from the start.  Preminger is able to get you on Andrews’ side even though he's trying to frame the bad guy. The aid comes from Preminger’s camera moves which help you to get the rogue Dixon’s viewpoint and support him, even when he is doing wrong.  This is the luscious part of film noir done right: It makes you a willing conspirator that embraces some wrong things. That shows talent on the part of the director and the cast.

Just before this scene Dana Andrews received a reprimand and demotion from first class detective for multiple counts of brutality. A few minutes later he is called to the scene of a murder and he inspects the scene, he finds Merrill, his thugs, and a dead body. Following his instincts he goes to roust another thug he thinks was involved and accidentally kills the suspect with a single punch.  Now he is in deep kimchee as he remembers the lecture he got back at the station…

Instead of calling in and telling the police the truth and risking another reprimand, he hides the body, and then goes through an elaborate deception to throw it in the river. He had used a cab to masquerade as the stiff to fool the neighbors then slipped back and took the body out separately.

When the police arrive following the discovery of the body, they arrest the father (Tom Tully) of lovely Gene Tierney, who was used to draw players into the illegal crap game where the killing took place. Andrews must hear his supervisor tell the exact moves he made, except with Tully as the perp. There is even a witness who corroborates the cop's theory.

All of this action occurs within the first 15 minutes of the film and the rest plays out showing Andrews trying to take down bad guy Merrill while staying ahead of the investigation whose target is himself.

Dana Andrews really carries the picture with a jaded air that is very believable. Supporting cast is very good also with Gary Merrill, supported by several familiar faces like Neville Brand and Craig Stevens. Gene Tierney is lovely but is mainly window dressing in this one as Andrews is the focus. Oleg Cassini (Tierney’s real life husband) appears as a dress designer who uses Gene Tierney as a model.

The script is full of colorful phrases and there is another subplot where Andrews confesses he is afraid of becoming what his father was - a hoodlum. This idea has been followed in several subsequent movies, like Detective Story and Deep Cover - both brilliant forays into crime drama and highly recommended.

The movie plays out like few others until the last minute and then tacks on a repentant ending, which was no doubt imposed by the studio to satisfy the Production Code. Other than that minor drawback, I have to give it the full five stars as a crackerjack movie.