My tribute to Dana Andrews continues with the film with which he closed out the most glittering decade of his career. In 1944, Andrews and his frequent co-star Gene Tierney, Director/Producer Otto Preminger and Cinematographer Joseph LaShelle made Laura, a classic film of high society longing, love and murder. Take that same foursome, move the story setting down significantly in economic strata and add a dose of brutality and you have this week’s film recommendation: 1950’s Where the Sidewalk Ends.
The story, as conveyed through one of Ben Hecht’s many outstanding scripts, centers on Police Detective Mark Dixon (Andrews). Dixon’s hatred of gangsters is legendary, and leads him to relentlessly un-Miranda-type behavior toward thugs. He has a particular grudge against mob boss Tommy Scalise (an oleaginous Gary Merrill), for reasons that are revealed during the film. While investigating a murder in which Scalise is involved, Dixon loses his temper one time too many, resulting in a tragic death which he tries to cover up. He hopes to frame Scalise, but suspicion instead falls on an innocent man (sweetly played by Tom Tully) whose dishy daughter (Tierney) turns Dixon’s head. The dark story twists like a knife from there, up to and including the very last scene.
The film has some superb noir cinematography, with the standout shot being a long, fixed point take of a car with Dixon and some mobsters in it approaching and entering a car elevator (in which LaShelle cannily placed the camera) and then rising up off the screen as the men in the car eye each other suspiciously. There are also a number of arresting shots that draw the viewers’ attention to two distinct points on the screen. My favorite is when Andrews is about to tell Tierney the truth but then turns toward the viewer, his face partly shaded. She then talks over his shoulder at the camera, as his face is transfixed with shame and doubt. Preminger set up many scenes this way in his career, challenging the viewer to track both external action and internal reactions in the same shots.
Who gets the credit for these effective framings and the movie’s overall cool look? Continue reading “Weekend Film Recommendation: Where the Sidewalk Ends”