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Preminger's slick noir gem presents a damning indictment of the criminal justice system's perpetual rot and the kinds of cops who take the law into their own hands. Nov 30, 2021. A formidable and...
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Where the Sidewalk Ends offers what most audiences expect...
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Dec 5, 2005 · Where the Sidewalk Ends is an interesting crossroads noir, poised between the expressionist 40s and the realist 50s. It looks like a studio film, Fox having backed away from its all-location ethic of a few years before. It's a story about sleazy cops and sleazier crooks yet has Gene Tierney to make it all seem on the glamorous side.
Where the Sidewalk Ends is a 1950 American film noir directed and produced by Otto Preminger. [2] [3] The screenplay for the film was written by Ben Hecht, and adapted by Robert E. Kent, Frank P. Rosenberg, and Victor Trivas. The screenplay and adaptations were based on the novel Night Cry by William L. Stuart.
Dec 21, 2005 · Investigating a homicide at an illegal craps game run by gangster Tommy Scalise (Gary Merrill), detective Mark Dixon (Andrews), a cop whose renegade streak drives his lieutenant (Karl Malden) to explain that his “job is to detect criminals, not punish them,” accidentally kills a suspect with an uppercut during a scuffle.
Where the Sidewalk Ends: Directed by Otto Preminger. With Dana Andrews, Gene Tierney, Gary Merrill, Bert Freed. Det. Sgt. Mark Dixon wants to be something his old man wasn't: a guy on the right side of the law. Will Dixon's vicious nature get the better of him?
- (10K)
- Crime, Drama, Film-Noir
- Otto Preminger
- 1950-08
Where the Sidewalk Ends is a 1974 children's poetry collection written and illustrated by Shel Silverstein. [1] It was published by Harper and Row Publishers. The book's poems address common childhood concerns and also present fanciful stories and imaginative images.
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Dec 6, 2005 · Much of the film unreels in one night, when the murder of a high-roller from out of town precipitates a string of events that lead to Dixon's becoming an accidental killer. Preminger's direction is taut, forceful, and fluid, especially when Dixon sets about creating an alibi for himself.
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