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

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7.7/10   4,393 votes »
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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:
"I Couldn't Shake Loose From What I Was" See more (98 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
 
Special 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 | Germany:12 | Sweden:15 | UK:12 | USA:Approved (MPAA rating: certificate #14458) | USA:Passed (National Board of Review) | West Germany:12

Did You Know?

Trivia:
Robert F. Simon's film debut.See more »
Goofs:
Continuity: When Andrews is staging the murder scene after Stevens' death, he is gloveless. A few seconds later he suddenly has gloves on both hands.See more »
Quotes:
Det. Sgt. Mark Dixon:Where the devil am I? I keep coming and going.See more »
Movie Connections:
Soundtrack:
Street SceneSee more »

FAQ

This FAQ is empty. Add the first question.
32 out of 43 people found the following review useful.
"I Couldn't Shake Loose From What I Was", 31 December 1999

Produced and directed by Otto Preminger, and starring Dana Andrews, the king of the B-movies, this is a terrific 20th-Century Fox film noir, all heavy woollen topcoats, stylish wide-brimmed hats and skewed camera angles. It's a film with a superb 'dark' look and a Ben Hecht script which delivers the authentic cadences of noirspeak.

Mark Dixon is a tough cop. His father was a small-time hood, and Dixon feels he has something to prove. He uses street methods, roughing-up bad guys and bullying stoolpigeons. He is not liked by his superiors, and has remained a detective sergeant, whereas his contemporary Lewis (Karl Malden) has played it by the book and has risen to the rank of lieutenant. Lewis is now Dixon's boss, and there is considerable tension between the two men.

Enter Ken Paine (Craig Stevens), a two-bit crook and bagman for Scalise (Guy Merrill). Tall, dark and handsome, and a much-decorated war hero, Paine is a drinker and a punk who lurks around cheap crap games. He is dating a dame by the name of Morgan Taylor (Gene Tierney), a looker with a whiff of glamour about her. Morgan is a fashion model in a Manhattan department store by day, and an 'escort' in Scalise's gambling club by night. Jiggs Taylor, her father (Tom Tulley), is a New York cabbie with a fondness for telling tall stories.

Dixon is on his last chance. The captain has made it clear - no more rough stuff. Then something dreadful happens, and Dixon panics and tries to cover it up. He sets in motion a train of events which he can't control, especially after he becomes emotionally involved with the beautiful Morgan. Dixon's tormented soul is the film's battleground, the instinct for self-preservation warring with a guilty conscience and a need to earn the girl's respect.

Though they do not spoil the movie, there are some things in the story which don't quite add up. A detective openly discusses a current investigation with a yellow cab driver, something which even the unorthodox Dixon would never do. Dishes are served to Dixon and Morgan in the restaurant, even though they didn't order anything specific. How is Morgan able to get to Paine's apartment in the couple of minutes which elapse after she hears the news? Why do the police interrogate Jiggs at the scene, in the presence of his daughter? Surely the detectives know better than to subject Jiggs to a confrontation ID without allowing him access to legal advice?

A 'noir' is nothing if not atmospheric, and this one is dripping with atmosphere. Brooklyn Bridge looms high over the mean streets, a skeletal silhouette which haunts the action like some urban angel of doom. New York City is the matrix in and through which these characters function, the context of their entire existence, and its presence is constantly felt. Whether by means of an el-train overhead, or a forest of skyscrapers swimming into focus through the locker-room window, the city surrounds and bears in upon these people, the malevolent nest through which they are obliged to scurry.

Dana Andrews is excellent as Dixon, the tough guy who retains our sympathy because he is capable of remorse. Watch out for Scalise's masseur, a very young Neville Brand.

It doesn't always help to be innocent, says Dixon, the hard man conscious of the harsh ways of the city, but the wretchedness of a guilty conscience is a terrible burden to bear. The camera conveys this beautifully, with a brooding Dixon large in the foreground as the investigation proceeds, and earlier, his horrified face twisted by a fish-eye lens as he realises the enormity of what he has done.

Verdict - A murky, grim film noir ... marvellous!

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Message Boards

Discuss this movie with other users on IMDb message board for Where the Sidewalk Ends (1950)
Recent Posts (updated daily)User
nothing downbeat83
Best noir movie I've watched in a long time madafaka
Dana Andrews was not a B movie actor johnggriff
What is Scalise sniffing throughout the movie? kida0477
Liked the ending... habler6
I've seen that building interior before wimpy-818-580363
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