Rookie New York cop has to deal with juvenile delinquents, his superiors, and blame for the suicide of a woman who jumped to her death while he was in her apartment.



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Cast overview, first billed only:
John Dean
Frances (as Sandra Rehn)
Danny Dennis ...
Short Stuff
Ted Erwin ...
Sergeant #1
Melvin Decker ...
Lou Gilbert ...
Barry McGuire ...
Elia Clark ...


Rookie New York cop has to deal with juvenile delinquents, his superiors, and blame for the suicide of a woman who jumped to her death while he was in her apartment.

Plot Summary | Add Synopsis


Only the Devil is the Winner ... on the Street of Sinners!


Crime | Drama


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Release Date:

September 1957 (USA)  »

Also Known As:

Straße der Sünderinnen  »

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Aspect Ratio:

1.85 : 1
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Did You Know?


Film debut (billed as Sandra Rehn) of Andra Martin. See more »

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User Reviews

Rookie cop George Montgomery confronts connected Nehemiah Persoff
15 February 2016 | by (United States) – See all my reviews

Street of Sinners (1957) is a sharp-edged energetic noir with jagged jazz cues dominated by brass. A lot of plot is packed into its 80-minute running time.

George Montgomery is a rookie cop on a new beat, which is a rough New York street. The man who's the big wheel on the street is bar owner Nehemiah Persoff. He's connected downtown, and he gets away with the vice trades and worse. Persoff also has eyes for the young Marilee Earle, but she's attracted to Montgomery. So is lush Geraldine Brooks, whom Persoff has turned into a "party girl". Montgomery refuses to go along and knuckle under to Persoff like the cop he's replacing. The story wastes no time before conflict erupts between them. Persoff at first smooths it over and paints himself as the street's benefactor, but his true colors emerge more and more as the tough and unyielding Montgomery gains the trust of some of the people Persoff has been dominating and corrupting.

What few sources there are on this film usually place it as a JD film. One can see why since Montgomery has to face youthful antagonism, must deal with some petty delinquency and gets involved with both Earle and Brooks. But he's the main focus, not the juveniles, and the story turns more on his struggle against Persoff. Both actors are at their best here. Earle handles her role very well, and Brooks has a substantial and emotionally-charged role in which she excels.

This is bound to be an overlooked noir because it seldom airs.

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