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East Side, West Side (1949)

Passed  |   |  Drama, Romance  |  4 September 1950 (Sweden)
6.9
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Ratings: 6.9/10 from 1,186 users  
Reviews: 31 user | 8 critic

A vain playboy puts strains his happy marriage to a rich, beautiful socialite allows himself be be seduced by a former girlfriend.

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(screenplay), (novel)
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Cast

Complete credited cast:
...
...
...
...
...
Rosa Senta
...
Helen Lee (as Nancy Davis)
...
Nora Kernan
...
Lt. Jacobi
Raymond Greenleaf ...
Horace Elcott Howland
Douglas Kennedy ...
Alec Dawning
Beverly Michaels ...
Felice Backett
...
Bill the Bartender
Lisa Golm ...
Josephine
Tom Powers ...
Owen Lee
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Storyline

Brandon and Jessie Bourne have been married to each other for many years. A few years ago, Brandon had an extra-martial affair with Isabel Lorrison. Now she has returned to New York intending to start over with the relationship once again. Meanwhile, Jessie is attracted to Mark Dwyer, just arrived from a secret mission in Italy. Written by Mattias Thuresson

Plot Summary | Add Synopsis

Plot Keywords:

airport | party | playboy | model | uptown | See All (103) »

Taglines:

I was married to a man other women pursued!

Genres:

Drama | Romance

Certificate:

Passed | See all certifications »
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Details

Country:

Language:

Release Date:

4 September 1950 (Sweden)  »

Also Known As:

Mundos Opostos  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Gale Sondergaard, who plays Barbara Stanwyck's mother in this film, was 50 years old when it was produced. Stanwyck was 42. See more »

Quotes

Nora Kernan: Jessie looks wonderful tonight.
Brandon Bourne: She has you to thank for her looks, darling.
Nora Kernan: And you! When a woman gets more beautiful after she's married, it means her man is making her very happy or verry unhappy.
See more »

Connections

References The Seventh Victim (1943) See more »

Soundtracks

Blue Moon
(1934) (uncredited)
Music by Richard Rodgers
Lyrics by Lorenz Hart
Played at Lee party
See more »

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User Reviews

 
Likable melodrama
12 July 2003 | by (New York) – See all my reviews

Stanwyck and Heflin have a palpable chemistry here, and Ava Gardner is a most alluring vixen. Cyd Charisse is a delectable ingenue (and a tall drink of water), while Gale Sondergaard is hilarious as a hard-bitten, hoydenish Amazon floozie. Stanwyck is playing about 10 years younger than her actual age (her film mother admits to being 55, when Stanwyck is in her early forties here, and while still handsome, she does look her age).

Mervyn Leroy did a nice job of combining the noir/woman's-picture genres, though its ennoblement of Stanwyck robs her of her strengths as a no-nonsense woman, good or bad. Her scene with Gardner is a standout -- both actresses are well matched; Gardner's feline beauty and laissez-faire romantic approach nicely complements Stanwyck's humane fatalism -- and Stanwyck and Van Heflin are an appealing couple. Mason is rather a chump, however -- he seems to be underplaying to the point of lethargy, though his handsome charm surfaces here and there; yet he and Stanwyck, though matched in terms of age (she was younger by a couple of years) are not the type for each other; he doesn't suit her, screen-wise. Heflin's naturalism -- a performance of great charm and likability -- is more suited to Stanwyck's style and one longs for them to get together. Great use of sets to evoke New York, teeming with nightlife, and Leroy always had a knack for directing extras so that the city scenes seem peopled with real lives rather than populated with stand-ins. Costumes, though late 1940s, seem a bit recherche, as if the designer hadn't left the 1930s, with the women's gowns too ornate for such a sophisticated post-war milieu.

Not a great picture by any means, but a highly enjoyable one; a viewer wishes the director and screenwriter -- the talented Isobel Lennart, who later wrote "Two for the Seesaw," among many others -- had trusted more in the chemistry between Heflin and Stanwyck, and discarded some of the Marcia Davenport source material, juicy as it must have been. This is from Stanwyck's late-1940s string of women's flicks, which did not play to her strengths. But middling Stanwyck is usually better than anyone else's best. And the underrated Van Heflin is worth rooting for, too.


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