SIDE STREET
US, 1950, 83 minutes, Black and white.
Farley Granger, Cathy O’ Donnell, James Craig, Paul Kelly, Jean Hagen, Paul Harvey, Edmon Ryan, Charles Mc Graw, Adele Jergens, Harry Bellaver, Whit Bissell.
Directed by Anthony Mann.
Side Street is a small film noir from MGM. It was directed by Anthony Mann who had directed a number of small features, often tough features, from 1942. He made this film just before Winchester 73, the celebrated western that introduced his many films with James Stewart during the 1950s. Later he moved on to more epic films like Cimarron and The Fall of the Roman Empire.
Farley Granger is a part-time postman who succumbs to a temptation to steal money, finds it is far more than he thought, gets himself involved in criminal activities by a shady lawyer and a criminal on parole. Cathy O’ Donnell plays his wife who is pregnant. James Craig is the paroled criminal, Edmon Ryan the corrupt lawyer, Paul Kelly the upright policeman and there is a good cameo from Jean Hagen as a singer who is in love with the criminal, fatally so.
The film has a touch of moralising with the voice-over by Paul Kelly, indicating that human nature is frail and that we are all subject to temptation.
The film is set in New York City which is filmed very vividly, often with aerial shots of the whole city.
1. An interesting film noir? 1950s crime film? The ordinary citizen? The moralising tone?
2. The importance of the black and white photography of New York City, the introductory comments, the aerial shots, the chase in a Sunday morning abandoned Wall Street? Other locations, homes, apartments, hospitals, offices, the streets? The musical score?
3. The title, the Norsons and their living in a poorer atmosphere in New York City, a side street?
4. The importance of the voice-over by Captain Anderson, his perspectives on Joe, on what he did? His role in the investigation, leading his men? His final comments about the case?
5. Joe, experience in the war, his part-time job delivering mail? Chatting in the bar? Seeing the money, the temptation to go back and take it, breaking open the safe, taking the file? The irony of the thirty thousand? The audience knowing where it came from? His wrapping it, giving it to the bartender? The irony of his stealing it? Joe and his relationship with Ellen, tension, the lies, going away, giving her some money for hospital? His going to the hotel? His worry, the decision to give the money back? His puzzle about Backett not knowing anything? His being pursued? George and his determination? The role of the police? Going to Ellen, the birth of the baby, confessing the truth? Her urging him to go to the police – but later urging him to run? His ability to track down Nick Drumman, the cheeky boy with the money? George pursuing Drumman at the same time, finding Drumman dead, the landlady seeing him? His continually evading the police? Tracking down the documents, finding Harriet, talking with her, going to the apartment, George and his attack? Their taking him in the taxi, Harriet’s death? Driving, the final crash, his being vindicated, reunited with Ellen?
6. Ellen, the marriage, hopes, pregnant, living with her parents, Joe and his losing his gas station? Hospital, giving birth, learning the truth, with the police? The happy reunion?
7. Victor Backett, the shady lawyer, touching down Emil Lorrison, setting him up with Lucille? Paying, the photos? His later denying any connection? The bank teller, with Joe’s questions, the rules, Joe meeting him in the street, his fears?
8. The violence in Georgie, killing Lucille, the body in the river? His relationship with Larry, driving the taxi, Larry as a family man, violence? Yet George killing him?
9. Backett, the interrogation by the police, holding him?
10. The final chase, Wall Street deserted, Joe using his wits, the accident, George being killed? The final resolution?
