Only a woman's heart could reach out for such a man!
A police detective's violent nature keeps him from being a good cop.
A police detective's violent nature keeps him from being a good cop.
Dana Andrews Gene Tierney Gary Merrill Bert Freed Tom Tully Karl Malden Ruth Donnelly Craig Stevens Fred Aldrich Tom Coleman Chuck Hamilton Ian MacDonald John McGuire Clarence Straight Robert B. Williams Phil Tully Don Appell Tony Barr John Daheim Neville Brand Herbert Lytton Lou Nova Eddie Borden Harry 'Snub' Pollard Barry Brooks Ralph Brooks Oleg Cassini John Close Clancy Cooper Show All…
Faustrecht der Großstadt, Passos na Noite, Al borde del peligro, Missä jalkakäytävä loppuu, Κηλίδες στο Πεζοδρόμιο, Ahol a járda véget ér, Sui marciapiedi, Na krawedzi prawa, Unde se termină trotuarul, Nattens vargar, Там, где кончается тротуар, Kaldirimlar bitince, Mark Dixon, détective, O Castigo da Justiça, Korkusuz Kadin, Night Cry, 铁牛金刚, 골목길이 끝나는 곳, Na krawędzi prawa, Al cap del carrer, 歩道の終わる所
“Where the Sidewalk Ends” is the dead end of decency in detective work. If, indeed, there was any there to start.
“Sidewalk” will do more than just make you doubt that there was ever any goodness in its corner of the city.
Directed by Otto Preminger, “Sidewalk” has all the scars of a creator who was well-versed with the idea that men make their own nightmares. As in his later works, such as “Anatomy of a Murder” and “Bunny Lake is Missing,” Preminger transforms the human mind and soul into an inescapable and unknowable abyss.
“Sidewalk,” about a father perhaps falsely pinned for the murder of his daughter’s abusive husband, is populated by a grouping of scumbags that would make the…
As a story about a self-pitying, violent cop (Mark Dixon, played by Dana Andrews), there's not much for modern audiences to latch onto in Where the Sidewalk Ends. The character is repellant and toxic, something which, given director Otto Preminger's belief that "A cop is basically a criminal," is clearly not an accident. In fact, Preminger understood both the character and his kind in a shockingly modern way, saying "Why do cops hit people? Because when they become cops, they satisfy an instinct for violence, only it becomes legalized violence." This is reassuring to read, if only because it makes it very unlikely that Preminger wanted audiences to feel sympathy for Dixon — but he's really all we've got. Well,…
A proper gritty and hardboiled slice of noir from the talented Otto Preminger. Where the Sidewalk Ends stands at odds to his earlier masterpiece Laura. Where that film was bright and glossy, this one is dark and dirty. The plot focuses on hothead police detective Mark Dixon (Dana Andrews), who while investigating a murder accidently kills the main suspect. He endeavours to cover up his crime, but winds up framing an innocent man in the process. The film is tightly wound and full of tension; initially coming off as a cat and mouse thriller before deliving into deeper territory. Detective Dixon is a real archetypal noir protagonist. A man who staddles the line between cop and criminal - a heavy…
For the class I'm teaching, each of us wrote film notes for one of the lectures / films as supplementary guides for the undergraduates. I drew the Preminger straw. Bonus points for my enemies—I was forced to discuss themes.
Like many films of the postclassical era, Where the Sidewalk Ends came together not by means of a single studio, but a multiplicity of writers, producers, and actors forming a tenuous alliance. In United States v. Paramount Pictures, Inc. (1948), the Supreme Court ruled that the vertical integration of Hollywood’s major studios (in which they controlled all the aspects of the movie business: production, distribution, and exhibition) violated U.S. antitrust laws. This decision marked the beginning of the end of the…
The outrunning from a past towards a future better off without you in it, along this sidewalk cobbled with the guilt of becoming the very thing you sought to rid. The dreaded corner between hiding behind the one profession where reckless violence plus getting the job starts to blur into one slippery pool of darkened soul and an excuse to exorcize paternal ghosts the only way it can go without the second bat of an eye. Not to mention, the long-awaited return of the ever-creeping conscience that you’ve done your darndest to beat to a new pulp of its own. The end of this road may not be entirely of Dixon’s own doing, but the surest thing he’s ever done is to give his free life up to the same dead end that every man had expected of him all along.
Gene Tierney deserved an entirely new route all of her own.
Violent cop gradually comes to understand his own irredeemability and realizes that the only good world is one without him in it
Dana Andrews really makes this film. It's wild that so much of film noir hinges on the actors and actresses in them and the idiosyncrasies they bring. Otto Preminger definitely liked his noirs "stagey" for lack of a better term. I mean a lot of the earlier film noirs were, so definitely NOT saying this is a bad thing - I like that. His film Laura was stagey and of course fantastic. Here there IS, however, a very good short sequence near the end involving a parking garage and a car lift, with no dialogue and a short burst of tension - very Scorsese'ish and contemplative.
What a difference six years makes. Where the Sidewalk Ends reunited Otto Preminger, the director of Laura (1944), with Dana Andrews and Gene Tierney, the two stars of Laura.
This reunion between director and actors was nothing earthshaking. In the years between Laura and Where the Sidewalk Ends, Preminger had worked with both Andrews and Tierney again separately, and Tierney and Andrews had appeared together in the film The Iron Curtain (1948), which Preminger didn't direct.
But comparing Laura with Where the Sidewalk Ends tells us a lot about where the genre we now know as "noir" went after World War II.
Laura is a glamorous mystery set in Manhattan high society; Where the Sidewalk Ends is a down-and-dirty drama…
"What are you always trying to push me in the gutter for, Dixon? I got as much right on the sidewalk as you have."
Detective Mark Dixon (Dana Andrews) is a cop with impulse control issues. Specifically when it comes to physical violence. By the time we meet him he's had something like 12 complaints lodged against him and it isn't long before he accidentally murders a suspect he is questioning by roughing him up, setting in motion the events of the rest of the film which revolve around Mark covering it up and trying to stay a step ahead of being caught.
Dixon is a pretty reprehensible character, which works well in noirs. The problem is that the film…
Where does the sidewalk end? The first shot of this Otto Preminger noir tells us – it ends in the gutter, and this film is a tale of a bad cop, played by Dana Andrews, and the trouble he gets into trying to take down a local hood. Can the love of a good woman (the delightful Gene Tierney) save him?
This is one of the more enjoyable of the Preminger Noir movies I’ve been watching recently – the set up in particular is original and engaging. It’s not that often the focus is on a bad police officer and the damage he causes so this kept me interested. I find that many films of this period and run time…
It's entertaining enough, but I was a little bummed out by how little of this film felt compelling. The detective elements of the film are even pointed out by the film to be the stuff of comics and not particularly well-designed, and that really hurt the experience. It never had atmosphere like the classic noir films and though I like Dana Andrews this was not a good performance from him. The best part of the movie is the detective proving that he isn't his father, but even this felt wrong-headed at the end. It's alright if this is the kind of movie you're in the mood for that night, but otherwise it's nothing special.
they made all of gene tierney’s leading men boring because they knew we’d be too distracted by her to care about whatever it was they were doing.