IMDb > Where the Sidewalk Ends (1950)
Where the Sidewalk Ends
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Where the Sidewalk Ends (1950) More at IMDbPro »

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Where the Sidewalk Ends -- Trailer for this detective story

Overview

User Rating:
7.6/10   5,633 votes »
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Popularity: ?
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Director:
Writers:
Ben Hecht (screenplay)
Victor Trivas (adaptation) ...
(more)
Contact:
View company contact information for Where the Sidewalk Ends on IMDbPro.
Release Date:
7 July 1950 (USA) See more »
Genre:
Tagline:
Only a woman's heart could reach out for such a man!
Plot:
Det. Sgt. Mark Dixon wants to be something his old man wasn't: a guy on the right side of the law. But Dixon's vicious nature will get the better of him. Full summary » | Full synopsis »
User Reviews:
First rate film noir; make that a superb movie. See more (101 total) »

Cast

  (in credits order) (verified as complete)

Dana Andrews ... Det. Mark Dixon

Gene Tierney ... Morgan Taylor

Gary Merrill ... Tommy Scalise

Bert Freed ... Det. Paul Klein

Tom Tully ... Jiggs Taylor

Karl Malden ... Lt. Thomas

Ruth Donnelly ... Martha

Craig Stevens ... Ken Paine
rest of cast listed alphabetically:

Fred Aldrich ... Detective at Staff Meeting (uncredited)
Don Appell ... Willie Bender (uncredited)
Tony Barr ... Hoodlum (uncredited)

Eddie Borden ... Pool Hall Patron (uncredited)

Neville Brand ... Steve, Scalise Hood (uncredited)
Barry Brooks ... Thug (uncredited)
Ralph Brooks ... Railroad Baggage Clerk (uncredited)

Oleg Cassini ... Oleg the Fashion Designer (uncredited)
John Close ... Hanson (uncredited)
Tom Coleman ... Detective at Staff Meeting (uncredited)

Clancy Cooper ... Police Desk Sergeant Murphy (uncredited)
John Daheim ... Scalise Hoodlum (uncredited)

Sayre Dearing ... Man at Dice Table / Passerby (uncredited)
Bob Evans ... Sweatshirt (uncredited)
Charles Flynn ... Policeman Schwartz (uncredited)

Robert Foulk ... Fenney (uncredited)

Anthony George ... Scalise Hoodlum (uncredited)
Joseph Granby ... Fat Man (uncredited)

Chuck Hamilton ... Detective at Staff Meeting (uncredited)

Kathleen Hughes ... Secretary (uncredited)
Lou Krugman ... Mike Williams (uncredited)

Louise Lane ... Secretary (uncredited)
Louise Lorimer ... Mrs. Jackson (uncredited)

Herbert Lytton ... Joe, Scalise Hood (uncredited)

Ian MacDonald ... Detective Casey (uncredited)
John Marshall ... Police Detective (uncredited)
John McGuire ... Detective Gertessen (uncredited)

David McMahon ... Harrington (uncredited)
Eda Reiss Merin ... Mrs. Shirley Klein (uncredited)
Grayce Mills ... Mrs. Tribaum, Paine's Landlady (uncredited)
Lou Nova ... Ernie, Scalise Hood (uncredited)
Peggy O'Connor ... Model (uncredited)
Robert Patten ... Medical Examiner (uncredited)

'Snub' Pollard ... Pool Hall Patron (uncredited)
Stephen Roberts ... Gilruth (uncredited)
Lester Sharpe ... Friedman, Morgan's Employer (uncredited)

Robert F. Simon ... Insp. Nicholas Foley (uncredited)
Wanda Smith ... Model (uncredited)
Ray Spiker ... Policeman (uncredited)

Bert Stevens ... Passerby (uncredited)
Clarence Straight ... Detective (uncredited)

Charles Tannen ... Police Radio Dispatcher #79 (voice) (uncredited)
Shirley Tegge ... Model (uncredited)
Larry Thompson ... Riley (uncredited)
John Trebach ... Bartender (uncredited)
Phil Tully ... Det. Ted Benson, 16th Precinct (uncredited)

Harry von Zell ... Mr. Morrison (uncredited)
Duke Watson ... Cab Driver (uncredited)
Chili Williams ... Teddy (uncredited)
Mack Williams ... Jerry Morris, Attorney (uncredited)

Robert Williams ... Detective (uncredited)
David Wolfe ... Sid Kramer, Scalise Hood (uncredited)

Directed by
Otto Preminger 
 
Writing credits
Ben Hecht (screenplay)

Victor Trivas (adaptation) and
Frank P. Rosenberg (adaptation) and
Robert E. Kent (adaptation)

William L. Stuart (novel)

Produced by
Otto Preminger .... producer
Frank P. Rosenberg .... associate producer
 
Original Music by
Cyril J. Mockridge  (as Cyril Mockridge)
 
Cinematography by
Joseph LaShelle (director of photography)
 
Film Editing by
Louis R. Loeffler  (as Louis Loeffler)
 
Art Direction by
J. Russell Spencer 
Lyle R. Wheeler  (as Lyle Wheeler)
 
Set Decoration by
Thomas Little 
Walter M. Scott 
 
Costume Design by
Oleg Cassini 
 
Makeup Department
Ben Nye .... makeup artist
Marie Walter .... hair stylist (uncredited)
 
Production Management
Sam Wurtzel .... production manager (uncredited)
 
Second Unit Director or Assistant Director
Henry Weinberger .... assistant director (uncredited)
 
Sound Department
Alfred Bruzlin .... sound
Harry M. Leonard .... sound
 
Visual Effects by
Fred Sersen .... special photographic effects
 
Camera and Electrical Department
Don Anderson .... camera operator (uncredited)
Cliff Maupin .... still photographer (uncredited)
 
Costume and Wardrobe Department
Charles Le Maire .... wardrobe director (as Charles LeMaire)
 
Music Department
Lionel Newman .... musical director
Edward B. Powell .... orchestrator (as Edward Powell)
Maurice De Packh .... orchestrator (uncredited)
 
Other crew
Kathleen Fagan .... script supervisor (uncredited)
 
Crew believed to be complete


Production CompaniesDistributors

Additional Details

Also Known As:
Runtime:
95 min
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Recording)
Certification:
Australia:PG | Finland:K-16 | France:16 | Germany:12 | Sweden:15 | UK:12 | USA:Not Rated (DVD Rating) | USA:Approved (MPAA rating: certificate #14458) | USA:Passed (National Board of Review) | USA:TV-PG (tv rating)

Did You Know?

Trivia:
This is the last in a series of films that Otto Preminger made as a director-for-hire for Twentieth Century Fox in the 1940's. The series includes Laura (1944), which also stars Gene Tierney and Dana Andrews, Fallen Angel (1945) and Whirlpool (1950).See more »
Goofs:
Revealing mistakes: Although Preminger places and moves his camera with great skill in this film, his camera is set up on Dana Andrews right in-between him and suspect Craig Stevens. Stevens' first punch misses Andrews chin by at least a foot.See more »
Quotes:
Martha, Owner of Martha's Cafe:You know, I like places like this that specialize in good food instead of headwaiters.
Det. Sgt. Mark Dixon:It's the worst food in town, but don't worry. They usually serve a stomach pump with the dessert.
Martha, Owner of Martha's Cafe:Who invited you to come to my restaurant, Mr. Detective? Not me!
Det. Sgt. Mark Dixon:Martha's the head of a ring of burglars. My presence makes her nervous.
Martha, Owner of Martha's Cafe:Yeah, last night we got a whole basketful of diamonds. You wanna see?
Det. Sgt. Mark Dixon:Bring us two of your dangerous dinners, Martha.
Martha, Owner of Martha's Cafe:You know how much I've been offered to poison this man?
Det. Sgt. Mark Dixon:Ten dollars.
Martha, Owner of Martha's Cafe:That's right. I'm holding out for fifteen. Two dinners. Do you want wine?
Det. Sgt. Mark Dixon:Bring a small bottle.
[...]
See more »
Movie Connections:
Referenced in A Trip to Swadades (2008)See more »
Soundtrack:
Eine kleine Nachtmusik I. AllegroSee more »

FAQ

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37 out of 45 people found the following review useful.
First rate film noir; make that a superb movie., 6 June 2001
Author: David Cavallo (dcavallo@nyc.rr.com) from New York, NY

Elegance and class are not always the first words that come to mind when folks (at least folks who might do such a thing) sit around and talk about film noir.

Yet some of the best films of the genre, "Out of the Past," "The Killers," "In A Lonely Place," "Night and the City," manage a level of sleek sophistication that elevates them beyond a moody catch phrase and its connotations of foreboding shadows, fedoras, and femme-fatales.

"Where the Sidewalk Ends," a fairly difficult to find film -- the only copy in perhaps the best stocked video store in Manhattan was a rough bootleg from the AMC cable channel -- belongs in a category with these classics.

From the moment the black cloud of opening credits pass, a curtain is drawing around rogue loner detective Marc Dixon's crumbling world, and as the moments pass, it inches ever closer, threatening suffocation.

Sure, he's that familiar "cop with a dark past", but Dana Andrews gives Dixon a bleak stare and troubled intensity that makes you as uncomfortable as he seems. And yeah, he's been smacking around suspects for too long, and the newly promoted chief (Karl Malden, in a typically robust and commanding outing) is warning him "for the last time."

Yet Dixon hates these thugs too much to stop now. And boy didn't they had have it coming?

"Hoods, dusters, mugs, gutter nickel-rats" he spits when that tough nut of a boss demotes him and rolls out all of the complaints the bureau has been receiving about Dixon's right hook. The advice is for him to cool off for his own good. But instead he takes matters into his own hands.

And what a world of trouble he finds when he relies on his instincts, and falls back on a nature that may or may not have been passed down from a generation before.

Right away he's in deep with the cops, the syndicate, his own partner. Dixon's questionable involvement in a murder "investigation" threatens his job, makes him wonder whether he is simply as base as those he has sworn to bring in. Like Bogart in "Lonely Place," can he "escape what he is?"

When he has nowhere else to turn, he discovers that he has virtually doomed his unexpected relationship with a seraphic beauty (the marvelous Gene Tierney) who seems as if she can turn his barren bachelor's existence into something worth coming home to.

The pacing of this superb film is taut and gripping. The group of writers that contributed to the production polished the script to a high gloss -- the dialogue is snappy without disintegrating into dated parody fodder, passionate without becoming melodramatic or sappy.

And all of this top-notch direction and acting isn't too slick or buffed to loosen the film's emotional hold. Gene Tierney's angelic, soft-focus beauty is used to great effect. She shows herself to be an actress of considerable range, and her gentle, kind nature is as boundless here as is her psychosis in "Leave Her to Heaven." The scenes between Tierney and Andrews's Dixon grow more intense and touching the closer he seems to self-destruction.

Near the end of his rope, cut, bruised, and exhausted Dixon summarizes his lot: "Innocent people can get into terrible jams, too,.." he says. "One false move and you're in over your head."

Perhaps what makes this film so totally compelling is the sense that things could go wildly wrong for almost anyone -- especially for someone who is trying so hard to do right -- with one slight shift in the wind, one wrong decision or punch, or, most frighteningly, due to factors you have no control over. Noir has always reflected the darkest fears, brought them to the surface. "Where the Sidewalk Ends" does so in a realistic fashion.

(One nit-pick of an aside: This otherwise sterling film has a glaringly poor dub of a blonde model that wouldn't seem out of place on Mystery Science Theater. How very odd.)

But Noir fans -- heck, ANY movie fans -- who haven't seen this one are in for a terrific treat.

Was the above review useful to you?
See more (101 total) »

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