Where the Sidewalk Ends (1950)

☆ ☆ ☆ ½

Where the Sidewalk Ends (1950) – O. Preminger

There are a few moments in the film where Dana Andrews is faced with a moral dilemma: reveal just how badly he has screwed up and pay the consequences or continue to try to cover things up, including to his new love interest (Gene Tierney) whose father is likely to go to jail in his place, and possibly get away with it.  At the end, he just gazes past the camera and lets it all sink in.  This moment could be the best acting in Andrews’ career. He could go either way.  This being film noir, we aren’t sure.  Director Otto Preminger (working from a screenplay by Ben Hecht) expertly orchestrates the tightening of the screws: Andrews is first warned for beating up perps and then placed in a situation where he has to strike someone in self defence (who immediately croaks).  His desperation is palpable and it only gets worse as he tries to help the innocent man who might take the fall in his place.  Karl Malden and Gary Merrill show up in supporting roles (on either side of the law).  Preminger’s other noirs (Laura, Angel Face, Whirlpool) vary in quality but none of them are particularly distinguished by the classic noir visual style (as far as I recall). Nevertheless, the situation of being trapped by one’s own flaws makes this an archetypal entry in the genre.