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Southside 1-1000 (1950)

Passed  -  Film-Noir | Crime  -  16 November 1950 (USA)
6.3
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Ratings: 6.3/10 from 63 users  
Reviews: 2 user | 5 critic

The US secret service goes after a counterfeit ring, whose engraver Eugene Deane has covertly constructed his plates while serving a life sentence in San Quentin. In order to infiltrate the... See full summary »

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Title: Southside 1-1000 (1950)

Southside 1-1000 (1950) on IMDb 6.3/10

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Cast

Cast overview, first billed only:
Don DeFore ...
John Riggs / Nick Starnes
...
Nora Craig
...
Reggie
Barry Kelley ...
Bill Evans
Morris Ankrum ...
Eugene Deane
Robert Osterloh ...
Albert
Charles Cane ...
Harris
Kippee Valez ...
Singer
...
Frankie
John Harmon ...
Nimble Willie
G. Pat Collins ...
Hugh B. Pringle - Treasury Agent
Douglas Spencer ...
Prison Chaplain
Joan Miller ...
Mrs. Clara Evans
William Forrest ...
Prison Warden
Joseph Crehan ...
Burns, Prison Guard
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Storyline

The US secret service goes after a counterfeit ring, whose engraver Eugene Deane has covertly constructed his plates while serving a life sentence in San Quentin. In order to infiltrate the gang, federal agent John Riggs poses as an Eastern kingpin who wants to purchase a large quantity of the fake currency. During his investigations he falls in love with beautiful Nora Craig... Written by Christof Roscher

Plot Summary | Add Synopsis

Genres:

Film-Noir | Crime

Certificate:

Passed | See all certifications »
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Details

Country:

Language:

Release Date:

16 November 1950 (USA)  »

Also Known As:

Union 1-1000  »

Filming Locations:

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Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

During the opening montage, there is a shot of a theatre marquee advertising "Red River." Editor Christian Nyby obviously inserted this as an inside-joke hat-tip to himself and cinematographer Russell Harlan, both of whom worked on both pictures. See more »

Soundtracks

Je T'Aime
Written by Fritz Rotter & Harold Stern
Sung by Kippee Valez
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User Reviews

 
Ingster's second go at noir just a ho-hum rehash of tired themes
5 October 2002 | by (Western New York) – See all my reviews

Southside 1-1000 has to work hard to wash out the sour taste left by its obligatory, patriotic opening: Stock battle footage runs under a voice-over linking the importance of a sound national currency to the Korean conflict (then playing at a theater of war near you) and the diabolical, all-encompassing threat of Communist domination. Whew! (It was the early cold-war era, and viewers were all but required to swear a loyalty oath before they could enjoy even a B-programmer.) Unluckily, it doesn't work hard enough.

Locked up in a federal pen, a top-notch forger pores over his Bible until lights out, when he whisks out his engraving tools and etches the plates for `queer.' Smuggled out, they go on the presses turning out counterfeit bills to be uttered at race tracks and Vegas poker parlors. G-Man Don DeFore (an avuncular figure familiar from television - Ozzie and Harriet, Hazel) goes undercover to track down and infiltrate the source of the funny money. Middleman Barry Kelley goes down (literally, through a window) but the brains of the operation stay at large. Then, as a big-spending good-time Charley, DeFore catches the eye of Andrea King, daughter of the old jailbird. But his cover is blown at his moment of greatest peril....

The director, Boris Ingster, occupies a curious niche in Hollywood lore. In 1940, with Stranger on the Third Floor, he gave the public an elliptical, dreamlike suspense movie that came to be regarded by many fans as the very first film noir. That's a tough call to make, and at any rate Ingster can hardly be counted among the noir maestros (in fact, he directed but three movies). He returned to the cycle as it was peaking and had even begun to cannibalize earlier successes.

Despite two or three sequences that rise a notch or two above the pedestrian, Southside 1-1000, can only be graded ho-hum. The best thing in it has to be Andrea King, but she's allowed to bare her fangs fully only too briefly at the end. And while its numerical title remains so evocative of the noir series as a whole (Call Northside 777, Dial 1119, 99 River Street, 711 Ocean Drive), Southside 1-1000 simply warms over material than had been often traversed over the few years previous, most remarkably by Anthony Mann in T-Men.


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