The Dead End Kids are introduced in their intricate East Side slum, overlooked by the apartments of the rich. Their antics, some funny, some vicious, alternate with subplots: unemployed architect Dave is torn between Drina, sweet but equally poor, and Kay, a rich man's mistress; gangster Baby Face Martin returns to his old neighborhood and finds that nobody is glad to see him. Then violent crime, both juvenile and adult, impacts the neighborhood and its people.Written by
Rod Crawford <email@example.com>
Opening credits prologue: Every street in New York ends in a river. For many years the dirty banks of the East River were lined with the tenements of the poor. Then the rich, discovering that the river traffic was picturesque, moved their houses eastward. And now the terraces of these great apartment houses look down into the windows of the tenement poor. See more »
The film turned out to be Bogart's most significant film since "The Petrified Forest."
It offers a vivid portrait of people caught up in a continual fight to somehow satisfy themselves despite the oppressive environment that seemed to quiet their every attempt
Joel McCrea is a frustrated architect who dreams of tearing down the slums and Sylvia Sidney portrays a shopgirl struggling for identity and meaning in her life, a life made even more complicated by having to look after her brother (Billy Halop). The boy idolizes the decadent Bogart, an excessive admiration shared by the rest of the Dead End Kids, here recreating their original Broadway roles with noisy good humor
Opposing these idealists is their real threat, Bogart, an assassin named Baby Face Martin Bogart is impolitely rejected by a mother (Marjorie Main) who hates him and an ex-girl friend (Claire Trevor) who leaves him bitter and disillusioned when he discovers that she has become a hooker
Rebuked by those he had been sentimental enough to want to visit, he rapidly reverts to represent beforehand and plans a kidnapping in order to rescue something from the consumed affair
"Dead End" remains one of Bogart's best films, where the actor proves that he is capable of handling difficult material with considerable skill
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