Where The Sidewalk Ends

Where The Sidewalk Ends is a captivating, noirish crime drama film released in 1950. Directed by the illustrious Otto Preminger and featuring an exceptional cast including Dana Andrews, Gene Tierney, and Gary Merrill. Filled with tension, suspense, and the gritty charm of film noir, Where The Sidewalk Ends is a testament to the timeless allure of classic crime cinema.

The film pivots around protagonist Detective Mark Dixon (Dana Andrews), carrying a notorious reputation for his rough handling of criminals and his stubborn aversion for due judicial processes. He is haunted by the tarnished legacy of his father, who was a known criminal, and Dixon battles these personal demons trying to erase his father’s past through his zealous commitment to justice. Due to his overbearing tactics, Dixon already lives under the careful scrutiny of his superiors in the precinct.

The film takes a thrilling twist when in an attempt to coerce a confession from a suspect, Dixon's methods escalate too far, resulting in fatal consequences. Panic-stricken, Dixon engages in covering up his misdeed which creates a complicated web of lies and deception. This incident sends Dixon spiraling down a dark path filled with guilt and desperation.

Simultaneously, Dixon engages in a budding, yet strained romance with the radiant, yet naive fashion model, Morgan Taylor (Gene Tierney). Tierney brilliantly portrays Morgan, a woman caught amidst the teeming tension who, while eager to trust her heart, unknowingly finds herself plunged into Dixon's tangled web of deception.

An unforgettable addition to the cast is Gary Merrill as Tommy Scalise, a ruthless underworld figure who flirts with the edges of the law, with a charm that only hides his true sinister nature. His powerful performance adds an unpredictable menace to the narrative.

As Dixon's web of lies continues to broaden, he struggles to maintain his double life while growing closer to Morgan. On one hand, he is a law enforcement officer, publically pursuing justice, and on another, he is a cover-up artist, privately shrouded in guilt and moral conflict. The dilemma that Dixon grapples with incorporates true pathos into the story, making the audience invested in Dixon's journey.

Where The Sidewalk Ends does a remarkable job at capturing the spirit of film noir. The shadowy cinematography, enhanced by Joseph LaShelle's elegant black-and-white frames, evokes an atmosphere of mystery and danger lurking around every dark corner. The sparse, stylistic sets contribute to the overall brooding atmosphere of tension and suspense, and the contrast between light and shadow serves as a metaphor for Dixon's moral struggles.

The fast-paced screenplay, penned by Ben Hecht, keeps the audience on the edge of their seats as each scene progressively hikes up the stakes. The plot, while retaining the quintessential tropes of suspense, corruption, and the flawed hero, also introduces a strong emotional undercurrent through its poignant depiction of Dixon's torment and redemption.

Dana Andrews delivers a brilliant performance as Dixon, projecting an aura of quiet desperation and guilt that makes his character a compelling focal point of the film. His chemistry with Tierney is palpable, their scenes together providing a brief respite amidst the ever-prevalent tension woven through the narrative.

Overall, Where The Sidewalk Ends cleverly blends elements of crime, drama, and romance to craft a provocative narrative that is as complex and tumultuous as its protagonist. The film's climax brings the story to a nerve-racking showdown, leaving the audiences yearning for resolution. This cinematic gem is a must-watch for fans of noir lore – a riveting exploration of morality, redemption, and the blurring lines between good and evil.