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


Overview

User Rating:
7.2/10   1,324 votes »
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Down 16% in popularity this week. See why on IMDbPro.
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:
Imagine a Hitchcockian thriller, but heavier, more humorless; rather good. 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:
French visa # 104222.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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16 out of 22 people found the following review useful.
Imagine a Hitchcockian thriller, but heavier, more humorless; rather good., 8 September 1999
Author: Darragh O' Donoghue (hitch1899_@hotmail.com) from Dublin, Ireland

Although not as dynamic or inventive as his earlier DESPERATE, this is a very good film noir from Western maestro Anthony Mann. Where DESPERATE was actually a Western in modern thriller form, SIDE STREET is more of a Hitchcockian innocent-in-peril film, although much heavier.

The film's brilliance is mainly stylistic, but it's clever too. It starts off worryingly as one of those ghastly Fox March-Of-Time pseudo-documentary thrillers (e.g. CALL NORTHSIDE 477). A Voice Of God narrator booms out information about New York, statistics about births, weddings, deaths, crimes, murders. He reveals himself to be an important cop; it is alarming that the film's authoritive voice should literally be The Law.

This Law refuses loose ends - the statistics are there to show that everything is in control: the cops are on top of all crises. And indeed they seem to be - we get a montage of petty criminals being stopped by the ubiquitous police. Frighteningly, as the story proper is introduced, the narrator suggests that it would be a good and useful thing for the police (and by extension us) to know what ordinary people are thinking, as it is often here we find the root of crime; the story is set up as a test case of this.

This glorification of police power is dangerously fascist, although it was probably seen as reassurance for a post-war audience. But Mann subverts this cosy panopticon. Although the story is set up as a detached cop's clear-eyed dissection, it soon becomes a typically dense film noir, where desire and fear make a mockery of authority and order.

This is mainly done by moving the film's point of view away from the narrator to the protagonist. Joe Norson is an innocent, as I suggested, but not in the legal sense - he is a thief. This is 'explained' by Joe's poverty and his essential decency in caring for his pregnant wife - this is a view endorsed by the cop-narrator right through to the end. But the film's visuals suggest otherwise - Joe is profoundly changed by his experiences.

The film starts brightly as a seemingly happy Joe goes on his mail route: this is filmed with an unassuming normality. But, once he conceives of theft, the film's style changes drastically, before he has even entered any kind of underworld. The film's darkness is therefore psychic rather than metaphoric. The camera angles distort madly, shadows loom ominously, lighting and air is sucked form the frame. Although the script tries to keep up the Jean Valjean myth of Joe's essential goodness, it is clear that he becomes damaged: he will never be able to return to his old, naive certainties. He learns both what evil is, that he has it within himself, and how it can be used, even if it's just to save himself. The brilliant final shot bleakly mocks the hollow paternalism of the cop-narrator's words.

As a thriller, the film is tremendously exciting - with the criminal, as in Hitchcock's films, becoming a detective to clear his own name, blurring certainties of law and crime. The final car-chase is justly admired. The heroine is a drip (Granger and O'Donnell's roles lack their romantic intensity in Ray's THEY LIVE BY NIGHT), and the villains, though individually anonymous, provide a disturbing combination of evil. Granger's stiffness is perfect - his outward awkwardness makes the mise-en-scene's emotional dramatisation all the more effective.

The irony of the film is in the title - the actions of the characters in pursuing the American dream are perfectly commensurate with the ideals of Official America (the 'main' street): they take a paralell, less noticeable route ('side' street).

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