IMDb > Side Street (1949)
Side Street
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Side Street (1949) More at IMDbPro »


Overview

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7.2/10   1,323 votes »
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Director:
Writers:
Sydney Boehm (story)
Sydney Boehm (screenplay)
Contact:
View company contact information for Side Street on IMDbPro.
Release Date:
23 March 1950 (USA) See more »
Genre:
Tagline:
Where temptation lurks! See more »
Plot:
A struggling young father-to-be gives in to temptation and impulsively steals money from the office of a shady lawyer - with catastrophic consequences. Full summary » | Full synopsis »
User Reviews:
Granger as flawed Everyman caught up in an urban vortex See more (27 total) »

Cast

  (in credits order) (verified as complete)

Farley Granger ... Joe Norson

Cathy O'Donnell ... Ellen Norson
James Craig ... Georgie Garsell
Paul Kelly ... Captain Walter Anderson

Jean Hagen ... Harriet Sinton
Paul Harvey ... Emil Lorrison
Edmon Ryan ... Victor Backett

Charles McGraw ... Stanley Simon
Edwin Max ... Nick Drumman (as Ed Max)
Adele Jergens ... Lucille 'Lucky' Colner
Harry Bellaver ... Larry Giff

Whit Bissell ... Harold Simpsen
John Gallaudet ... Gus Heldon
Esther Somers ... Mrs. Malby
Harry Antrim ... Mr. Malby
rest of cast listed alphabetically:
Bobo ... Dog (uncredited)
Gail Bonney ... Woman (uncredited) (voice)
Margaret Brayton ... Woman Clerk (uncredited)
John Butler ... Elevator Man (uncredited)
Frank Conlan ... Night Elevator Operator (uncredited)
Ben Cooper ... Young Man at Cleaners (uncredited)
Walter Craig ... Radio Clerk (uncredited)
Marie Crisis ... Headwaitress (uncredited)
George David ... Syrian Proprietor (uncredited)
Peter DeBear ... Tommy Drumman, Jr. (uncredited)
Anthony Dexter ... Radio Clerk (uncredited)
Jack Diamond ... Bum (uncredited)
King Donovan ... Det. Gottschalk (uncredited)
Helen Eby-Rock ... Mother (uncredited)
Kathryn Givney ... Nurse Carter (uncredited)
Edmund Glover ... Fingerprint Expert (uncredited)
Eula Guy ... Policewoman Florence (uncredited)
Don Haggerty ... Rivers (uncredited)
William Hansen ... Dr. Harry Sternberg (uncredited)
Bee Humphries ... Mrs. Farnol (uncredited)
Brett King ... Pigeon Man (uncredited)
Nolan Leary ... Lorrison's Apartment Doorman (uncredited)

Norman Leavitt ... Bartender (uncredited)
Margie Liszt ... Woman (voice) (uncredited)
Ellen Lowe ... Mrs. Rivers (uncredited)
George Lynn ... Frank (uncredited)
Robert Malcolm ... Charlie (uncredited)
Paul Marion ... Dave (uncredited)
John Maxwell ... Police Monitor (uncredited)
Charles McAvoy ... Bank Guard (uncredited)
Tom McElhaney ... News Vendor (uncredited)
W.P. McWatters ... Tommy Drummon, Jr. (uncredited)
Lynn Millan ... Les Artises Hatcheck Girl (uncredited)
Ralph Montgomery ... Milkman (uncredited)
Alberto Morin ... Ismot Kimal (uncredited)
James O'Neill ... Priest (uncredited)
Ollie O'Toole ... Voice (voice) (uncredited)
John Phillips ... Detective (uncredited)
Angi O. Poulos ... Ahmed (uncredited)
Ralph Riggs ... Cleaners Proprieter (uncredited)
William Ruhl ... Manny (uncredited)
Sarah Selby ... 2nd Nurse (uncredited)
Ransom M. Sherman ... Lucky's Apartment Super (uncredited)
Dan Terranova ... Patrolman (uncredited)

Peter M. Thompson ... Mickey (uncredited)
Sid Tomack ... Louie (uncredited)
George Tyne ... Det. Roffman (uncredited)
Minerva Urecal ... Garsell's Landlady (uncredited)
Joe Verdi ... Vendor (uncredited)
Herb Vigran ... Photographer (uncredited)
Mildred Wall ... Mrs. Glickburn (uncredited)
Ruth Warren ... Lucky's Housekeeper (uncredited)
James Westerfield ... Charlie (uncredited)
David Wolfe ... Smitty (uncredited)
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Directed by
Anthony Mann 
 
Writing credits
Sydney Boehm (story)

Sydney Boehm (screenplay)

Produced by
Sam Zimbalist .... producer
 
Original Music by
Lennie Hayton 
 
Cinematography by
Joseph Ruttenberg (director of photography)
 
Film Editing by
Conrad A. Nervig 
 
Art Direction by
Daniel B. Cathcart 
Cedric Gibbons 
 
Set Decoration by
Edwin B. Willis 
 
Makeup Department
Jack Dawn .... makeup designer
Sydney Guilaroff .... hair stylist
 
Production Management
Charles J. Hunt .... unit manager (uncredited)
 
Second Unit Director or Assistant Director
Howard W. Koch .... assistant director (uncredited)
 
Art Department
Charles DeCrof .... associate set decorator (as Charles de Crof)
 
Sound Department
Douglas Shearer .... recording supervisor
Charles E. Wallace .... sound (uncredited)
 
Special Effects by
A. Arnold Gillespie .... special effects
 
Stunts
Carey Loftin .... stunts (uncredited)
Frank McGrath .... stunts (uncredited)
 
Camera and Electrical Department
Herbert Fischer .... camera operator (uncredited)
S.C. Manatt .... still photographer (uncredited)
Leo Monlon .... grip (uncredited)
 
Music Department
Wally Heglin .... orchestrator (uncredited)
Conrad Salinger .... orchestrator (uncredited)
 
Other crew
Don McDougall .... script supervisor (uncredited)
Annick Rougerie .... (press attache France 2005 re-release ) (uncredited)
 
Crew verified as complete


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Additional Details

Also Known As:
Runtime:
83 min
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Sound System)
Certification:
France:U | Sweden:15 | USA:Passed (National Board of Review) | USA:Approved (certificate #13954)

Did You Know?

Trivia:
The address given for Lorrison, 170 Central Park West, is the address of the New York Historical Society.See more »
Quotes:
[first lines]
Capt. Walter Anderson:New York City: an architectural jungle where fabulous wealth and the deepest squalor live side by side. New York is the busiest, the loneliest, the kindest, and the cruelest of cities - a murder a day, every day of the year and each murder will wind up on my deak.
See more »
Movie Connections:
Soundtrack:
EASY TO LOVESee more »

FAQ

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33 out of 34 people found the following review useful.
Granger as flawed Everyman caught up in an urban vortex, 22 June 2003
Author: bmacv from Western New York

A dazzling aerial shot taken high above the Empire State Building opens Anthony Mann's Side Street, and, throughout the movie, glimpses of that New York obelisk recur – sometimes dark and menacing, sometimes caught at the vanishing point of an urban canyon. It's a subtle image of the wide gulf on a narrow island between the pride and power of the haves and the borderline, hand-to-mouth lives of the have-nots for whom it's a distant and alien totem.

War veteran Farley Granger tries to make ends meet by shouldering a mail bag part-time; he and his pregnant wife Cathy O'Donnell (the pair reunited from the previous year's They Live By Night) live in a bedroom of his folks' railroad flat. Delivering one day to a shyster lawyer (Edmon Ryan), he spots a few big bills strewn carelessly about; the next, when he finds the office empty, he succumbs to temptation, only to find that the couple of hundred he thought he copped is really about $30-grand. Out of his depth, he wraps up the cash and gives it to a bartender to keep, while he checks into a fleabag hotel to think things out.

The money's a payoff in Ryan's blackmail racket, whose chief lure is Adele Jergens (misnamed `Lucky,' as she's soon fished out of the river). When Granger decides to come clean and return the money, Ryan denies all knowledge of it (it could link him to Jergen's murder). But he sets his loose cannon of a goon (James Craig) to retrieve the cash any way he can. Granger finds that his trusty barkeep has absconded with his package; when he tracks him down, he finds him dead, too.

A cadre of police assigned to the murder (Charles McGraw and Paul Stewart among them) thinks Granger's the prime suspect, so he has to turn sleuth to clear himself. His trail leads him to a Village dive where one of the numbers in Craig's little black book (Jean Hagen) croons `Easy to Love....'

Side Street hews to the classic noir narrative of the average guy caught up in dark forces he can neither understand nor control, and Granger gives it one of his finer performances, perplexed and terrified at what he's unleashed. And while O'Donnell's role is conventional and secondary, Hagen gives her brief sequence as a boozy moth drawn to a fatal flame a poignant spark (Jergens, platinumed and sequined, does her even briefer sequence proud).

To the extent that Mann indulges in social comment, he leaves it to be inferred (the same year, Granger appeared in the far more explicitly leftist Edge of Doom). At the end, the shots of the opening are rhymed with an eagle-eyed view of a police chase through the deserted streets of lower Manhattan early on a Sunday morning. It's a Bullitt-like ending for a movie that, while gripping, shows far more texture and nuance than Bullitt.

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