IMDb > Southside 1-1000 (1950)
Southside 1-1000
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Southside 1-1000 (1950) More at IMDbPro »


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6.3/10   95 votes »
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Down 28% in popularity this week. See why on IMDbPro.
Milton Raison (story) and
Bert C. Brown (story) ...
View company contact information for Southside 1-1000 on IMDbPro.
Release Date:
16 November 1950 (USA) See more »
The US secret service goes after a counterfeit ring, whose engraver Eugene Deane has covertly constructed... See more » | Add synopsis »
User Reviews:
Ingster's second go at noir just a ho-hum rehash of tired themes See more (2 total) »


  (in credits order)

Don DeFore ... John Riggs / Nick Starnes

Andrea King ... Nora Craig

George Tobias ... Reggie

Barry Kelley ... Bill Evans

Morris Ankrum ... Eugene Deane
Robert Osterloh ... Albert
Charles Cane ... Harris
Kippee Valez ... Singer

Joe Turkel ... 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

Benny Bartlett ... Eddie, Bellboy

Paul Bryar ... Jack, FBI Man Cab Driver

Ray Teal ... Bunco Agent

Clancy Cooper ... Police Desk Sergeant
Bret Hamilton ... Car Attendant

Pierre Watkin ... Police Commissioner

George J. Lewis ... Gornoy

Don Beddoe ... Slade Knight, Lawyer

Nolan Leary ... Hotel Desk Clerk
Jan Kayne ... Perfume Salesgirl

William Henry ... Treasury Agent Jones
rest of cast listed alphabetically:

Ray Bennett ... Guard (uncredited)

Argentina Brunetti ... Storekeeper Babo's Wife (uncredited)
Cliff Clark ... Deane's Guard on Train (uncredited)
Eddie Dunn ... Airport Police Sergeant (uncredited)
Joseph Forte ... Dr. Anderson, Prison Doctor (uncredited)

Harry Lewis ... FBI Agent (uncredited)

Rory Mallinson ... FBI Agent (uncredited)
Allen Mathews ... Cop (uncredited)

Gerald Mohr ... Narrator (voice) (uncredited)
Tom Monroe ... Federal Dispatcher (uncredited)

Syd Saylor ... Drunk (uncredited)
Jeffrey Sayre ... Dance Extra (uncredited)
Charles Sherlock ... Taxicab Driver (uncredited)
Mickey Simpson ... Studs, Reggie's Henchman (uncredited)

Tito Vuolo ... Babo - Storekeeper (uncredited)
Ray Walker ... Secret Service Chemist (uncredited)

Directed by
Boris Ingster 
Writing credits
Milton Raison (story) (as Milton M. Raison) and
Bert C. Brown (story)

Leo Townsend (screenplay) and
Boris Ingster (screenplay)

Produced by
Arthur Gardner .... assistant producer
Frank King .... producer
Maurice King .... producer
Original Music by
Paul Sawtell 
Cinematography by
Russell Harlan 
Film Editing by
Christian Nyby 
Production Design by
Ted Haworth 
Art Direction by
Dave Milton 
Set Decoration by
Raymond Boltz Jr. 
Costume Design by
Norma Koch 
Sound Department
John K. Kean .... sound (as John Kean)
Music Department
Stuart Frye .... music editor

Production CompaniesDistributors

Additional Details

Also Known As:
"Union 1-1000" - USA (alternative title)
See more »
73 min
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Recording)
Finland:K-16 | Sweden:15 | UK:A | USA:Passed (National Board of Review) | USA:Approved (PCA #14768) | West Germany:16

Did You Know?

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 »
Continuity: About 3:30 minutes before the end of the picture, John Riggs is shot in the right shoulder. 30 seconds later, he is seen clutching his left shoulder.See more »
Movie Connections:
References Red River (1948)See more »
Je T'AimeSee more »


This FAQ is empty. Add the first question.
7 out of 10 people found the following review useful.
Ingster's second go at noir just a ho-hum rehash of tired themes, 5 October 2002
Author: bmacv from Western New York

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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