Where The Sidewalk Ends
directed by Otto Preminger
directed by Otto Preminger
Still the writer and director quickly mute that story line before transforming it into something a little more sympathetic to police as well and focusing on individual and not systemic wrongdoing.
This film allowed for more moral complexity than was then showed for police filmic depictions. Where The Sidewalk Ends was simultaneously stylized and ultra realistic. This film is among the best examples of what a film noir should look like. Visually it's quite the treat. The film used some New York City locations.
Unless you're a saint you've committed a few sins. What determines your morality is not just whether you've ever broken a law or internal moral code but how you've behaved after doing so. Did you take responsibility? Offer recompense or apology to those that you've harmed? Examine what you did wrong and make changes in yourself?
Or do you keep quiet, refuse to admit wrongdoing, and look to pin the blame on someone else?
Mark Dixon (Dana Andrews) is a violent NYPD detective.
At this time police weren't hampered by Miranda warnings or other expansive readings of the Fourth, Fifth, or Sixth Amendments, so it's scary that other NYPD officers think Dixon is too much. Dixon has so many complaints that the police bosses deny him a promotion.
Instead less experienced straight shooter Lieutenant Thomas (Karl Malden) becomes Dixon's new boss. The police brass demotes Dixon and warns him that they will fire him if there are further complaints or incidents. The gangster Scalise (Gary Merrill) runs a floating craps game.
A beautiful model Morgan Taylor (Gene Tierney) attends this game with her ex-husband, veteran Ken Paine (Craig Stevens). Morrison, a Texas bigshot, is up $19,000 on Scalise. Morrison thinks Morgan is Lady Luck. Morrison wants to get to know Morgan. Most men do. She is Gene Tierney, after all.
But Morgan must work the next day. She's leaving. This upsets Ken. Ken is in debt to Scalise and brought Morgan to the game to entice Morrison to stay. If Morgan leaves, Morrison will leave. Scalise won't win his money back.
Ken asks Morgan to remain. When she demurs Ken starts slapping her. That s*** doesn't fly with Morrison.
A fight breaks out. Morgan flees. When the police, including Dixon, arrive, Morrison is dead. Dixon and Scalise have bad personal and professional history. Dixon can't prove that Scalise ordered the murder. Scalise implicates Ken.
Dixon finds Ken. Ken and Dixon are hotheads; they fight. Dixon punches Ken, accidentally killing him. Panicked, Dixon hides the body. Dixon intends to frame Scalise for Ken's murder. But Dixon still wants to investigate the Morrison murder.
Jiggs has history with Ken because of Ken's abuse of Morgan. Lieutenant Thomas builds a case against Jiggs. Thomas can't understand why the normally gung-ho Dixon isn't on board. Thomas considers using some of Dixon's tactics.
Dana Andrews skillfully depicted Dixon's increasing discomfort, guilt, and shame as Morgan and Jiggs exalt him and tell him what a wonderful man he is. The viewer might find himself or herself catching some sympathy for Dixon as the film explains his past.
Which of Dixon's feelings will win? Dixon's urges for self-preservation and possible love with Morgan? Dixon is incredibly lonely. Or will Dixon's conscience make him do the right thing? This film is an engaging drama.
Scalise may not have killed Ken but he's no good guy. I liked how this film showed how lies can add up and fall apart. Dixon is in great emotional pain. Every character, friend or foe, sees this.
