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   4,064 votes »
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Down 12% in popularity this week. See why on IMDbPro.
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:
Dana Andrews: Noir's haunted conscience See more (96 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)
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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
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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:
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 (1949).See more »
Goofs:
Revealing mistakes: When the car Dixon is riding in pulls onto (and off) the garage elevator on the way to Scalise's hide-out, the camera shakes violently for a few seconds.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 L.A. Noire (2011) (VG)See more »
Soundtrack:
Street SceneSee more »

FAQ

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45 out of 53 people found the following review useful.
Dana Andrews: Noir's haunted conscience, 13 July 2006
Author: imogensara_smith from New York City

We're a long way from LAURA. Once again Otto Preminger directs, Dana Andrews stars as a police detective named Mark, and Gene Tierney is the beautiful woman who haunts him, but nothing else about WHERE THE SIDEWALK ENDS resembles everyone's favorite sophisticated murder mystery. Instead of deliciously quotable dialogue we get gritty, harrowing realism. While the earlier film took place in the ritzy upper echelons of New York society, here we're in the low-rent district of dark streets, hoodlums, cheap restaurants and crummy flats. Tierney, gorgeous as ever, now works as a department-store mannequin and lives in Washington Heights (the neighborhood of the "doll" who once got a fox fur out of LAURA's Mark McPherson). This time Andrews is Mark Dixon, an older, sadder, more troubled version of the cool cop in a trench coat.

WHERE THE SIDEWALK ENDS belongs to a sub-genre of noir, movies about police brutality focusing on cops who can't control their violent impulses. Like Kirk Douglas's character in DETECTIVE STORY, Dixon owes his seething contempt for crooks to his father's criminal past. Where Douglas is self-righteous and blind to his own faults, Andrews is burdened by repressed guilt and self-loathing. He accidentally kills a suspect and covers up his actions with an attempt to throw suspicion on a slimy gangster (Gary Merrill) whom he has been vainly pursuing for years. Instead, a kindly cab driver is suspected because he's the father of the dead man's estranged and mistreated wife Morgan (Gene Tierney). Dixon, falling in love with the wife of the man he killed, tries desperately to save her father without giving himself away.

Among noir protagonists, Dana Andrews had this distinction: he was incapable of appearing unintelligent. Even when playing an average Joe, as he usually did, he always comes across as unusually sensitive and perceptive; more than that, his air of being too thoughtful for his own comfort gives him that haunted--and haunting--quality that was his essence as an actor. He played ordinary guys, cops and soldiers, but always with a tragic undercurrent of seeing and knowing too much. His conscientious heroes are marked by exhaustion, guilt, the inability ever to "lighten up." No other actor could have expressed so well the bottled-up anger, the slow-burning pain, the agonized intelligence of Mark Dixon. He also has a muted tenderness, a muffled warmth and even wry humor that make him heartbreaking. This comes out when he takes Morgan to a restaurant where he's a regular, and for the first time we see this cold, brutal man trading mock insults with the waitress, whose sarcasm can't hide her affection and concern for him. When Dixon asks his partner for money to get a lawyer for Morgan's father, he supplies it even though they recently argued and Dixon threw a punch at him. There are no words about loyalty or knowing he's a good guy deep down, but we see it all in the man's anguished silence and his wife's resignation as she hands over some jewelry to pawn. Dixon's goodness comes across through other people's reactions to him as much as through Andrews's deeply moving performance.

Though Dana Andrews was a minor star, he may be the quintessential forties man. He goes through some movies hardly ever taking off his overcoat; with that boxy, mid-century silhouette, further fortified by the fedora, the glass of bourbon, the cigarette he doesn't take out of his mouth when he talks, he looks imprisoned in the masculine ideal of toughness and impassivity. While many noirs romanticize the two-fisted tough guy, WHERE THE SIDEWALK ENDS offers an unflinching portrait of the reality behind the façade, a gripping and melancholy exploration of the roots and consequences of violence.

Andrews was sadly underrated in his own time (he was the only one of the three protagonists in THE BEST YEARS OF OUR LIVES not nominated for an Academy Award, though his low-key performance is far more compelling than Frederic March's hammy, Oscar-winning drunk). Fortunately, Andrews appeared in some films that ensured his immortality, and now at last this little-known film, which contains his best performance, can be seen as part of the marvelous Fox Film Noir set. This series, including a number of never before released titles (such as NIGHTMARE ALLEY and THIEVES' HIGHWAY), suggests that Twentieth-Century-Fox may have had the finest record of all the major studios when it came to film noir.

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Recent Posts (updated daily)User
Dana Andrews was not a B movie actor johnggriff
Best noir movie I've watched in a long time madafaka
What is Scalise sniffing throughout the movie? kida0477
Liked the ending... habler6
nothing downbeat83
I've seen that building interior before wimpy-818-580363
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