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East Side, West Side (1949)

A vain businessman puts strains on his happy marriage to a rich, beautiful socialite by allowing himself be be seduced by a former girlfriend.

Director:

Mervyn LeRoy

Writers:

Isobel Lennart (screenplay), Marcia Davenport (novel)
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Cast

Complete credited cast:
Barbara Stanwyck ... Jessie Bourne
James Mason ... Brandon Bourne
Van Heflin ... Mark Dwyer
Ava Gardner ... Isabel Lorrison
Cyd Charisse ... Rosa Senta
Nancy Reagan ... Helen Lee (as Nancy Davis)
Gale Sondergaard ... Nora Kernan
William Conrad ... Police Lt. Jake Jacobi
Raymond Greenleaf ... Horace Elcott Howland
Douglas Kennedy ... Alec Dawning
Beverly Michaels ... Felice Backett
William Frawley ... Bill the Bartender
Lisa Golm Lisa Golm ... Josephine - Maid
Tom Powers ... Owen Lee
Rest of cast listed alphabetically:
Jane Howard Jane Howard ... Model
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Storyline

Brandon and Jessie Bourne have a long, apparently happy marriage. Several years earlier Brandon had had an affair with a younger woman, Isabel Lorrison, who's now returned to New York intending to re-kindle the relationship. Meanwhile, Jessie is attracted to Mark Dwyer, a former policeman-turned-writer just arrived from a secret mission in Italy. Written by Mattias Thuresson

Plot Summary | Add Synopsis

Taglines:

I was married to a man other women pursued!

Genres:

Drama | Romance

Certificate:

Passed | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

21 July 1950 (Australia) See more »

Also Known As:

Mundos Opostos See more »

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Box Office

Budget:

$1,754,000 (estimated)

Gross USA:

$1,518,000, 31 December 1949

Cumulative Worldwide Gross:

$2,540,000, 31 December 1949
See more on IMDbPro »

Company Credits

Production Co:

Metro-Goldwyn-Mayer (MGM) See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Gale Sondergaard, who plays Barbara Stanwyck's mother in this film, was 50 years old when it was produced. Stanwyck was 42. See more »

Goofs

When Isabel takes Brandon back to her apartment after unexpectedly popping into his office, one can hear her putting ice into glasses as she fixes drinks. But subsequently no ice is seen in either of their glasses. See more »

Quotes

[first lines]
Jessie Bourne: Yes, this is my town. It's not new to you. You're read books about it. You've seen it in movies. People are always talking about New York. It's the most exciting city in the world, they say. The most glamorous, the most frightening and, above all, the fastest. You hear a great deal about the tempo of this city, it's speed, it's pace, it's driving heartbeat. Perhaps, it's true - for visitors. But, I was born here. I live here. And the only pace I know is the pace of my own life. The...
See more »

Connections

References The Seventh Victim (1943) See more »

Soundtracks

Blue Moon
(1934) (uncredited)
Music by Richard Rodgers
Lyrics by Lorenz Hart
Played at Lee party
See more »

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User Reviews

 
Likable melodrama
12 July 2003 | by rjhughes2See all my reviews

Stanwyck and Heflin have a palpable chemistry here, and Ava Gardner is a most alluring vixen. Cyd Charisse is a delectable ingenue (and a tall drink of water), while Gale Sondergaard is hilarious as a hard-bitten, hoydenish Amazon floozie. Stanwyck is playing about 10 years younger than her actual age (her film mother admits to being 55, when Stanwyck is in her early forties here, and while still handsome, she does look her age).

Mervyn Leroy did a nice job of combining the noir/woman's-picture genres, though its ennoblement of Stanwyck robs her of her strengths as a no-nonsense woman, good or bad. Her scene with Gardner is a standout -- both actresses are well matched; Gardner's feline beauty and laissez-faire romantic approach nicely complements Stanwyck's humane fatalism -- and Stanwyck and Van Heflin are an appealing couple. Mason is rather a chump, however -- he seems to be underplaying to the point of lethargy, though his handsome charm surfaces here and there; yet he and Stanwyck, though matched in terms of age (she was younger by a couple of years) are not the type for each other; he doesn't suit her, screen-wise. Heflin's naturalism -- a performance of great charm and likability -- is more suited to Stanwyck's style and one longs for them to get together. Great use of sets to evoke New York, teeming with nightlife, and Leroy always had a knack for directing extras so that the city scenes seem peopled with real lives rather than populated with stand-ins. Costumes, though late 1940s, seem a bit recherche, as if the designer hadn't left the 1930s, with the women's gowns too ornate for such a sophisticated post-war milieu.

Not a great picture by any means, but a highly enjoyable one; a viewer wishes the director and screenwriter -- the talented Isobel Lennart, who later wrote "Two for the Seesaw," among many others -- had trusted more in the chemistry between Heflin and Stanwyck, and discarded some of the Marcia Davenport source material, juicy as it must have been. This is from Stanwyck's late-1940s string of women's flicks, which did not play to her strengths. But middling Stanwyck is usually better than anyone else's best. And the underrated Van Heflin is worth rooting for, too.


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