Where the Sidewalk Ends 1950 123movies

Watch: Where the Sidewalk Ends 1950 123movies, Full Movie Online – Det. Sgt. Mark Dixon always wanted to be something his old man wasn’t: a guy on the right side of the law. But for a good guy, he’s awfully vicious. After several complaints over his roughing people up, his boss, Insp. Nicholas Foley, demotes him. Foley tells him he’s a good man, but needs to get his head on straight and be more like Det. Lt. Thomas, who has just gotten a promotion. Meanwhile, Tommy Scalise has an illegal dice game going and is looking to make a sucker out of the rich Ted Morrison, who was brought in by Ken Paine and his beautiful wife Morgan. She figures out too late her husband is using her as a decoy. Paine strikes her when she refuses to play along. The chivalrous Morrison intervenes but Paine knocks him out cold. That seems to be the worst of it, but later it turns out the guy is dead; and Paine looks guilty. Soon Dixon has fallen in love with Morgan – but not before losing his temper again and committing a terrible deed that he tries to cover up. Morgan’s father, a tale-spinning taxi driver, may take the rap for it. It’s up to Dixon to try to pin the blame on Scalise..
Plot: A police detective’s violent nature keeps him from being a good cop.
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Ratings:

	7.6/10 Votes: 9,244
	100% | RottenTomatoes
	N/A | MetaCritic
	N/A Votes: 130 Popularity: 5.138 | TMDB

Reviews:

Dana Andrews: Noir’s haunted conscience
We’re a long way from LAURA. Once again Otto Preminger directs, Dana Andrews stars as a police detective named Mark, and Gene Tierney is the beautiful woman who haunts him, but nothing else about WHERE THE SIDEWALK ENDS resembles everyone’s favorite sophisticated murder mystery. Instead of deliciously quotable dialogue we get gritty, harrowing realism. While the earlier film took place in the ritzy upper echelons of New York society, here we’re in the low-rent district of dark streets, hoodlums, cheap restaurants and crummy flats. Tierney, gorgeous as ever, now works as a department-store mannequin and lives in Washington Heights (the neighborhood of the “doll” who once got a fox fur out of LAURA’s Mark McPherson). This time Andrews is Mark Dixon, an older, sadder, more troubled version of the cool cop in a trench coat.

WHERE THE SIDEWALK ENDS belongs to a sub-genre of noir, movies about police brutality focusing on cops who can’t control their violent impulses. Like Kirk Douglas’s character in DETECTIVE STORY, Dixon owes his seething contempt for crooks to his father’s criminal past. Where Douglas is self-righteous and blind to his own faults, Andrews is burdened by repressed guilt and self-loathing. He accidentally kills a suspect and covers up his actions with an attempt to throw suspicion on a slimy gangster (Gary Merrill) whom he has been vainly pursuing for years. Instead, a kindly cab driver is suspected because he’s the father of the dead man’s estranged and mistreated wife Morgan (Gene Tierney). Dixon, falling in love with the wife of the man he killed, tries desperately to save her father without giving himself away.

Among noir protagonists, Dana Andrews had this distinction: he was incapable of appearing unintelligent. Even when playing an average Joe, as he usually did, he always comes across as unusually sensitive and perceptive; more than that, his air of being too thoughtful for his own comfort gives him that haunted–and haunting–quality that was his essence as an actor. He played ordinary guys, cops and soldiers, but always with a tragic undercurrent of seeing and knowing too much. His conscientious heroes are marked by exhaustion, guilt, the inability ever to “lighten up.” No other actor could have expressed so well the bottled-up anger, the slow-burning pain, the agonized intelligence of Mark Dixon. He also has a muted tenderness, a muffled warmth and even wry humor that make him heartbreaking. This comes out when he takes Morgan to a restaurant where he’s a regular, and for the first time we see this cold, brutal man trading mock insults with the waitress, whose sarcasm can’t hide her affection and concern for him. When Dixon asks his partner for money to get a lawyer for Morgan’s father, he supplies it even though they recently argued and Dixon threw a punch at him. There are no words about loyalty or knowing he’s a good guy deep down, but we see it all in the man’s anguished silence and his wife’s resignation as she hands over some jewelry to pawn. Dixon’s goodness comes across through other people’s reactions to him as much as through Andrews’s deeply moving performance.

Though Dana Andrews was a minor star, he may be the quintessential forties man. He goes through some movies hardly ever taking off his overcoat; with that boxy, mid-century silhouette, further fortified by the fedora, the glass of bourbon, the cigarette he doesn’t take out of his mouth when he talks, he looks imprisoned in the masculine ideal of toughness and impassivity. While many noirs romanticize the two-fisted tough guy, WHERE THE SIDEWALK ENDS offers an unflinching portrait of the reality behind the façade, a gripping and melancholy exploration of the roots and consequences of violence.

Andrews was sadly underrated in his own time (he was the only one of the three protagonists in THE BEST YEARS OF OUR LIVES not nominated for an Academy Award, though his low-key performance is far more compelling than Frederic March’s hammy, Oscar-winning drunk). Fortunately, Andrews appeared in some films that ensured his immortality, and now at last this little-known film, which contains his best performance, can be seen as part of the marvelous Fox Film Noir set. This series, including a number of never before released titles (such as NIGHTMARE ALLEY and THIEVES’ HIGHWAY), suggests that Twentieth-Century-Fox may have had the finest record of all the major studios when it came to film noir.

Grade A Noir
WHERE THE SIDEWALK ENDS – 1950

Director Otto Preminger reunites with Dana Andrews and Gene Tierney in this top flight film noir. The two had starred in Preminger’s noir classic, LAURA in 1944. Also returning to the group from the earlier film is the director of photography, Joseph LaShelle.

Andrews plays a real hard case detective, who is not at all adverse to the laying on of hands during “interviews”. This behaviour has him constantly in hot water with his bosses. Curb his temper or lose his job is the word.

Andrews has a particular bee in his bonnet about slime-ball gambling racketeer, Gary Merrill. He can never seem to get enough goods on the man in-order to send him upstate.

Anyways, Andrews ends up killing a suspect, Craig Stevens, to a stabbing at one of Merrill’s crap games. He then covers up the crime and dumps the body in the drink. This course of action goes south when the body is discovered all too soon.

Then there is a whole series of events that end up with the father of Andrew’s ex-wife, Gene Tierney, being suspected of Stevens’ murder. What is Andrews to do? Everything he tries seems to backfire. Does he come clean, or does he let the innocent man, Tom Tully, get charged.

Director Preminger and cinematographer LaShelle are both on their game here, with an excellent series of night scenes. The endless parade of dark alleys, dank apartments and parking garages really stand out. The cast all shines with a cracker-jack performance by Andrews in particular.

This is a real top notch exercise in how to make a film noir.

Other Information:

Original Language en
Runtime 1 hr 35 min (95 min)
Budget 0
Revenue 0
Status Released
Rated Not Rated
Genre Crime, Drama, Film-Noir
Director Otto Preminger
Writer Ben Hecht, Victor Trivas, Frank P. Rosenberg
Actors Dana Andrews, Gene Tierney, Gary Merrill
Country United States
Awards N/A
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono (Western Electric Recording)
Aspect Ratio 1.37 : 1
Camera N/A
Laboratory N/A
Film Length 2,590 m (Italy), 2,602.35 m (10 reels)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 16 mm (1960s television prints), 35 mm