by Frank Calvillo
There are many admirers of film noir who feel that the 1944 classic Laura is one of the most captivating and innovative thrillers that the genre had to offer, making it a true noir classic. The appeal of the film stems from how it took the genre to new heights, presenting a number of unorthodox characters and a mystery which decidedly wasn’t run of the mill. In short, Laura helped show that film noir didn’t always have to stick to any one formula in order to be called film noir.
Six years later, the film’s stars, Dana Andrews and Gene Tierney, re-teamed with director Otto Preminger for Where the Sidewalk Ends, another noir entry which, though miles apart from Laura, once again rewrote the rules with regards to what defines a film noir.
In Where the Sidewalk Ends, Andrews plays Mark Dixon, a tough New York detective with a reputation for his violent treatment of criminals. When a routine questioning leads to Mark accidentally causing the death of a suspect, he immediately tries to avoid being caught by his lieutenant (Karl Malden) by trying to pin the blame on a local gangster (Gary Merrill). Yet, when Mark finds himself falling for the dead man’s estranged wife (Tierney), he must face not only the consequences of his actions, but also the looming shadow of his father’s past.
The most significant aspect of Where the Sidewalk Ends is how it’s essentially a melding of two distinct film styles. The film contains plenty of dubbing, projection shots and more than a few scenes filmed on the 20th Century Fox soundstage. Yet Preminger has given this film a definite raw and grimy look, especially in the way he chose to shoot a number of scenes on location, while a lack of traditional close-ups and stark lighting make Where the Sidewalk Ends a decidedly less stylistic affair in comparison with other noirs. Similar touches, such as renowned designer Oleg Cassini (Tierney’s then-husband) making a cameo as himself, helped add to the feel of realism. Perhaps all of this was a way to revitalize the genre since the era of film noir would soon be coming to a close. Not only did Where the Sidewalk Ends signify the end of one style of filmmaking and the beginning of another, but it also showed that Preminger was not just a mere director-for-hire, but rather a filmmaker with his own unique voice who was always destined to rise above the conventions.
Anyone familiar with the genre can clearly see how the film exists as both a conventional and unconventional noir entry. There’s the central anti-hero main character whose ways have come back to bite him, as well as the ensuing, ongoing tension as to whether or not he will get away with whatever he’s trying to get away with. Seeing all of this play out as both a seedy noir offering as well as a police procedural adds to the unique feel the film possesses. In the end, the film works best when it functions as a moral thriller, showing Mark at great odds with the mess he’s made for himself.
Andrews is at his absolute best here in what was certainly one of the trickiest roles of his career. His turn as Mark called for an on-going sense of silent guilt and mental torture, which the actor delivers in spades. I wish the same could be said for Tierney, who doesn’t really have much to work with in an otherwise standard role. There’s also a great amount of effective work from Malden and Merrill, both of whom show the kind of talent they would be known for in later years.
In spite of the film’s ending, the question is up in the air with regards to whether or not Mark is able to ultimately escape the dark shadow his father left behind. It’s a most unusual question for a film noir to ask, but then again Where the Sidewalk Ends is not just a crime-ridden tale, but first and foremost a character study about a man who comes to an impasse with himself.
The Package
Aside from the theatrical trailer, the release also contains a commentary track from film noir aficionado Eddie Muller in which he points out how the film is one of the earliest examples of “bad cop noir.” The commentary is fairly trivia-based, especially with regards to the cast and crew. While Muller doesn’t seem to be overly fond of Tierney, his overall analysis, such as the significance attached to even the most minor of characters, proves interesting.
The Lowdown
Anyone who proclaims Laura to be one of the greatest examples of the genre will certainly lap up the highly involving nature of Where the Sidewalk Ends.
Where the Sidewalk Ends is now available on Blu-Ray from Twilight Time.
