
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... (Full plot summary below)
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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.
Leave your thoughts about Where the Sidewalk Ends.
| CineVueChristopher MachellWhere the Sidewalk Ends offers what most audiences expect from a classic noir - cops, corruption, moody lighting, and a jazz-inflected soundtrack. |
| Chicago ReaderJonathan RosenbaumThe last of Otto Preminger's studio pictures at Fox, this 1950 feature has many of the noirish qualities of his Laura and Fallen Angel: Dana Andrews, ambiguity about the characters' dark undertones, and a fluid, fascinating mise en scene. |
| Slant MagazineNick SchagerAn efficient, bleak noir with an Oedipal twist. |
| VarietyVariety StaffOtto Preminger, director, does an excellent job of pacing the story and of building sympathy for Andrews. |
| CinePassionFernando F. CroceA beautiful system of obsessions and ambiguities |
| New York TimesBosley CrowtherFox may not have plumbed the depths of realism this time, but it still looks interesting, even two-thirds of the way down. |
| User ReviewArt SI know that there is no such thing as the 'perfect film', but I it's hard to imagine how they could have made this one any better. The only thing that comes to mind is fixing Gene Tierney's annoying overbite. Maybe. |
| User Reviewsheila sThis film is sooo good. It just brilliant a real classic, love it. |
| User ReviewNorm dGripping from start to finish. Every character fleshed out, even the old lady witness. Detective Dixon is a powerhouse of internal torment striving to break away from his violent father's legacy. A strong, character propelled film noir to cherish. This BFI film collection has yet to put a foot wrong. |
| User ReviewScott JWell filmed noir with a great story. Well acted, written, and directed. You can really feel the room closing in on Dixon. |