Where the Sidewalk Ends (Fox Film Noir)

Where the Sidewalk Ends (Fox Film Noir)
by Otto Preminger

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DVD Cover Information

Actor: Bert Freed, Dana Andrews, Gary Merrill, Gene Tierney, Tom Tully
Director: Otto Preminger
Brand: Twentieth Century Fox
Producer: Otto Preminger
Producer: Frank P. Rosenberg
Writer: Frank P. Rosenberg
Writer: Ben Hecht
Writer: Robert E. Kent
Writer: Victor Trivas
Writer: William L. Stuart
DVD: Region Code 1
Audio: English (Original Language), Dolby Digital 1.0; English (Subtitled); Spanish (Subtitled); English (Dubbed), Dolby Digital 1.0
Format: Closed-captioned, Color, Dolby, Dubbed, DVD-Video, Full Screen, NTSC
Picture Format: 1.33:1
Running Time: 95 minutes
DVD Release Date: 2005-12-06
Audience Rating: NR (Not Rated)
Studio: 20th Century Fox

Movie Reviews of Where the Sidewalk Ends (Fox Film Noir)

Movie Review: WONDERFUL FILM NOIR FALLS JUST SHORT OF CLASSIC STATUS
Summary: 4 Stars

Really enjoyed this wonderfully atmospheric noir. Great New York black &
white shots, a sharp, smart even sensitive script, great characters and, best of all, everybody getting slapped around mercilessly including diva Tierney. Dana Andrews, who at first appeared miscast, was outstanding as the grizzled no-nonsense veteran cop who accidentally kills while trying to find a killer. Everybody in this was simply at the top of their game-- probably a result of Otto Preminger's direction. Bert Freed, one of those "I've seen him before" character actors, was excellent as Andrews' cop partner. Gary Merrill, another familiar face, gave the performance of his career as the prime suspect. Karl Malden, in an early career role, was in his usual fine form as Andrews' annoyingly 'know-it-all' new boss. And ANY movie with Neville Brand has gotta be good! 'The old lady in the cafe' & 'the old lady at the window' were two fine characterizations. And how about the 'nasal-spray' pumping ringleader Merrill getting a rubdown in the Turkish baths around his "young" thugs. Preminger, never averse to tackling controversial issues [remember "The Man With The Golden Arm"], gave us quite a singular, androgynous and perverse bunch of mobsters, possibly serving as the impetus for the wierdo atypical mobsters we saw at the end of David Cronenberg's "A History of Violence". What fun this was! This is definitely a genre classic BUT what kept this from being an all-around classic? Not my two minor beefs: 1- Tierney being miscast & 2- the way Andrews got rid of the body:through the front door! [geez!]; but, the way the movie ended. All great movies usually have a great [and hopefully happy] ending. However, here we have the movie end with Andrews surviving a gunshot, the mob, apparently vindicated and ready to walk off into the sunset with Tierney, only to see him admit his accidental killing and basically losing it all at the end. After watching the lonely cop [Andrews] and battered-wife [Tierney] find each other in this rough-and-tumble movie a happy ending was what we were primed to expect. It would have sewn this up perfectly. Major gaffe, Otto!

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Summary of Where the Sidewalk Ends (Fox Film Noir)

A vigilante cop kills a suspect then falls in love with the mans widow. Studio: Tcfhe Release Date: 12/06/2005 Starring: Dana Andrews Gene Tierney Run time: 95 minutes Rating: Nr

Otto Preminger made four films noirs at Fox, all terrific. If we set aside the peerless Laura as more psychological mystery-romance than noir, there's plenty of evidence for judging Where the Sidewalk Ends the best of the lot (the other two being Fallen Angel, a study in small-town perversity, and Whirlpool, a delicious exercise in creepy psychology, slippery mise-en-sc?ne, and daringly complicated point-of-view). It's a hard-edged tale of a borderline-vicious New York police detective, Mark Dixon (Dana Andrews), with tortuous personal reasons for overzealousness in going after the bad guys. Much of the film unreels in one night, when the murder of a high-roller from out of town precipitates a string of events that lead to Dixon's becoming an accidental killer. Preminger's direction is taut, forceful, and fluid, especially when Dixon sets about creating an alibi for himself. Unfortunately, an innocent man gets implicated, with Dixon looking on, and the guilty cop's moral and psychological torment increases with each turn of the screw.

Tightly scripted by Ben Hecht, Preminger's film lacks the anguished poetry of Nicholas Ray's On Dangerous Ground, another 1950 noir centered on a cop (Robert Ryan) addicted to ultraviolence, but its grip is relentless. Preminger had a shrewd instinct for tapping a certain thuggish strain in Andrews, whose performance here is arguably his best. They're reunited with Gene Tierney, as a woman caught in the sidewash of sordid goings-on, and Laura cameraman Joseph La Shelle, whose work has a luster beyond the accustomed semidocumentary look of Fox noirs. Gary Merrill, usually a bland nice-guy, relishes the chance to play nasty as Dixon's gangland b?te noire Tommy Scalise, a homoerotic villain in the Tommy Udo vein with a menthol inhaler as fetish object. --Richard T. Jameson

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