57 user 40 critic

Dead End (1937)

Approved | | Crime, Drama, Film-Noir | 27 August 1937 (USA)
The lives of a young man and woman, an infamous gangster and a group of street kids converge one day in a volatile New York City slum.


William Wyler


Lillian Hellman (screen play), Sidney Kingsley (based upon the play by)

On Disc

at Amazon

Nominated for 4 Oscars. See more awards »


Learn more

More Like This 

Crime | Drama | Film-Noir
    1 2 3 4 5 6 7 8 9 10 7.5/10 X  

Three escaped convicts move in on and terrorize a suburban household.

Director: William Wyler
Stars: Humphrey Bogart, Fredric March, Arthur Kennedy
Certificate: Passed Crime | Drama | Film-Noir
    1 2 3 4 5 6 7 8 9 10 8/10 X  

A priest tries to stop a gangster from corrupting a group of street kids.

Director: Michael Curtiz
Stars: James Cagney, Pat O'Brien, Humphrey Bogart
Drama | Film-Noir | Romance
    1 2 3 4 5 6 7 8 9 10 7.6/10 X  

A waitress, a hobo and a bank robber get mixed up at a lonely diner in the desert.

Director: Archie Mayo
Stars: Leslie Howard, Humphrey Bogart, Bette Davis
High Sierra (1941)
Certificate: Passed Action | Adventure | Crime
    1 2 3 4 5 6 7 8 9 10 7.6/10 X  

After being released from prison, notorious thief Roy Earle is hired by his old boss to help a group of inexperienced criminals plan and carry out the robbery of a California resort.

Director: Raoul Walsh
Stars: Ida Lupino, Humphrey Bogart, Alan Curtis
Marked Woman (1937)
Crime | Film-Noir | Thriller
    1 2 3 4 5 6 7 8 9 10 7.4/10 X  

A crusading DA persuades a clip joint "party girl" to testify against her mobster boss after her innocent sister is accidentally murdered during one of his unsavory "parties".

Directors: Lloyd Bacon, Michael Curtiz
Stars: Bette Davis, Humphrey Bogart, Lola Lane
San Quentin (1937)
Crime | Drama | Film-Noir
    1 2 3 4 5 6 7 8 9 10 6.6/10 X  

An army trainer becomes captain of the prison yard and in time, falls for the sister of a hardened inmate.

Director: Lloyd Bacon
Stars: Pat O'Brien, Ann Sheridan, Humphrey Bogart
The Westerner (1940)
Drama | Romance | Western
    1 2 3 4 5 6 7 8 9 10 7.5/10 X  

Judge Roy Bean, a self-appointed hanging judge in Vinegarroon, Texas, befriends saddle tramp Cole Harden, who opposes Bean's policy against homesteaders.

Director: William Wyler
Stars: Gary Cooper, Walter Brennan, Doris Davenport
Crime | Drama | Film-Noir
    1 2 3 4 5 6 7 8 9 10 7.3/10 X  

When one of 2 truck driving brothers loses an arm, they both join a transport company where later, the other is falsely charged as an accessory in the murder of the owner.

Director: Raoul Walsh
Stars: George Raft, Humphrey Bogart, Ann Sheridan
Black Legion (1937)
Certificate: Passed Crime | Drama | Film-Noir
    1 2 3 4 5 6 7 8 9 10 7/10 X  

When a hard-working machinist loses a promotion to a Polish-born worker, he is seduced into joining the secretive Black Legion, which intimidates foreigners through violence.

Directors: Archie Mayo, Michael Curtiz
Stars: Humphrey Bogart, Ann Sheridan, Dick Foran
Kid Galahad (1937)
Crime | Drama | Romance
    1 2 3 4 5 6 7 8 9 10 7.3/10 X  

Fight promoter Nick Donati grooms a bellhop as a future champ, but has second thoughts when the 'kid' falls for his sister.

Director: Michael Curtiz
Stars: Edward G. Robinson, Bette Davis, Humphrey Bogart
Crime | Drama
    1 2 3 4 5 6 7 8 9 10 7/10 X  

A brilliant Park Avenue doctor becomes a criminal in order to do research into the criminal mind.

Director: Anatole Litvak
Stars: Edward G. Robinson, Humphrey Bogart, Claire Trevor
These Three (1936)
Certificate: Passed Drama | Romance
    1 2 3 4 5 6 7 8 9 10 7.6/10 X  

Two school teachers and the man they both love face ruin when a malicious student cooks up a lie.

Director: William Wyler
Stars: Miriam Hopkins, Merle Oberon, Joel McCrea


Cast overview, first billed only:
Sylvia Sidney ... Drina
Joel McCrea ... Dave
Humphrey Bogart ... 'Baby Face' Martin
Wendy Barrie ... Kay
Claire Trevor ... Francey
Allen Jenkins ... Hunk
Marjorie Main ... Mrs. Martin
Billy Halop ... Tommy
Huntz Hall ... Dippy
Bobby Jordan ... Angel
Leo Gorcey ... Spit (as Leo B. Gorcey)
Gabriel Dell ... T.B.
Bernard Punsly ... Milty
Charles Peck Charles Peck ... Philip
Minor Watson ... Mr. Griswald


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 <puffinus@u.washington.edu>

Plot Summary | Add Synopsis


Drama that roars fullblooded from the screen! (1944 rerelease poster) See more »


Crime | Drama | Film-Noir


Approved | See all certifications »






Release Date:

27 August 1937 (USA) See more »

Also Known As:

Dead End: Cradle of Crime See more »


Box Office


$300,000 (estimated)
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs


Sound Mix:

Mono (Western Electric Mirrophonic Recording)

Aspect Ratio:

1.37 : 1
See full technical specs »

Did You Know?


At first Jack L. Warner was unwilling to lend Humphrey Bogart to Samuel Goldwyn, until he could borrow Miriam Hopkins from him to do a movie for Warner Brothers. See more »


Francey: You can stay, nobody will recognize your face.
Hugh 'Baby Face': Yeah,
[shows her his fingers]
Hugh 'Baby Face': but you can't change these. I've tried three times with battery acid, it doesn't work.
See more »

Crazy Credits

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 »


Referenced in Summer of Sam (1999) See more »


Girl of My Dreams
(1927) (uncredited)
Written by Sunny Clapp
Played after Francey leaves Martin
See more »

Frequently Asked Questions

See more »

User Reviews

"They pay you for it, huh?"
23 October 2009 | by Steffi_PSee all my reviews

Cinema has always had an uneasy relationship with the theatre. By their nature stage plays tend to have very long scenes and base everything around dialogue, and there is something in the power of having real life players there in front of you that makes this workable. But there is also something about the very specific visual form of cinema that makes straight adaptations of stage plays potentially very boring.

The way in which this can be overcome, other than completely restructuring the source text, is by ensuring that the picture keeps moving and keeps storytelling on a visual level. You see, perhaps the most important difference between stage and screen, is that in the theatre every audience member sees things from a slightly different angle or distance – there is no universal perspective, and theatre directors have to ensure that everything is clear whichever seat it's seen from. But in the pictures everyone sees the exact same image at any given moment, and a screen director must find the best camera placements and shot arrangements. Fortunately for Dead End, this screen director William Wyler was among the best and most inventive users of space on screen. For starters, look at how the shots of the rich folks contrast with those of the poor ones. In the former, the camera mostly keeps an aloof distance, and everything is picked out in crisp white. In the latter, the camera is closer to the action, and the image is filled with mottled shades of grey.

The other very important thing in adapting stage plays to screen, is to ensure the performances are presented as well as possible, in order to give cinema audiences a taste of that same atmosphere and presence they would feel in front of a stage. Wyler also happens to be especially good at this. In particular he is bold enough to focus us on just one facet of a performance, sometimes keeping a character with their back to the camera and not showing us their face, forcing us to focus more on their posture, or the reaction of the opposite person. He also keeps the entrances of characters in keeping with their nature – for example having Humphrey Bogart smoothly slide into the frame, or craftily appear in the background as other figures move aside.

And the performances pay off big time. This was still a period in which an actor like Bogart was unlikely to be anything but a villain, but his appearance here surely raised his profile considerably and put him one step closer to those heroic leads. He adds some incredibly subtle yet effective touches – for example, when Joel McCrea gives him the cigarette, look at how he pauses before grudgingly lowering his head to accept the lighted match, as if this tiny stretch is some extreme display of generosity on Bogart's part. Joel McCrea is one of those actors (like, say, Gary Cooper or Van Heflin) who doesn't look like he ought to be a good actor – he looks like he ought to be an absolute hunk of wood – but he isn't. This is probably his finest performance. It's also the best I have seen from Sylvia Sidney. And of course there are those kids, every one of them a character.

The strange thing to consider about the acting in Dead End, is that all the performances are essentially one-dimensional – but in the best possible sense. Bogart is continually a mean and moody presence, moving and speaking slowly, submerging his feelings under a veneer of hard-hearted masculinity. In so doing he fulfils his character's placement as the symbolic archetypal gangster figure. Sylvia Sidney is the eternal independent working class lass, while McCrea is the honest, level-headed working man, and even when he turns to violence it seems not so much character development but merely the natural result of his principled persona in extreme circumstances. Claire Trevor, in her portrayal of the prostitute-moll, has the very opposite tone to the measured performances of Bogart and McCrea, all venom and fragile emotion. Of such things many a Best Supporting Actress nomination is made.

The odds were perhaps stacked in the filmmakers' favour with Dead End, it being a very engaging and punchy play that lends itself well to the cinematic medium. Of particular appeal is the way it begins as a kind of plot-less social study, but gradually a story emerges as the character's lives become interwoven. Still, it is the superb efforts of Wyler and his cast that really bring this one to life.

5 of 5 people found this review helpful.  Was this review helpful to you? | Report this
Review this title | See all 57 user reviews »

Contribute to This Page

Stream Trending Movies With Prime Video

Enjoy a night in with these popular movies available to stream now with Prime Video.

Start your free trial

Recently Viewed