La Rue de la mort

It's always fun to watch Farley Granger sweat bullets over a screw-up. This time the part-time letter carrier stumbles upon a quick way to pick up a couple of hundred bucks so that his pregnant wife can have all the good things in life, namely a private room at the hospital. When he ends up with a bit more cash than he bargains for, he begins to behave every bit as stupidly and nonsensically as you would expect him to. Anthony Mann skillfully keeps the usual suspect noir elements in the mix. Jean Hagen plays the saloon singer who prefers to drink her meals at the improbable club Les Artistes. James Craig plays the big lug with a shady past and the police detectives including the frog throated Charles McGraw have plenty of colorful characters to question. But it's Farley Granger who keeps the ball rolling. You never know what dumb move he'll make next.

Plot holes aside and not having to mind watching Farley Granger floundering rather pathetically, this is one heck of a noir. Worth it just for the location shooting. Tremendous shots of 50s New York City, probably as good as any archive material and if the plot verges on the silliness, everybody gives it their all. Great performances from the leads to the lowliest support. Much of that must be down to Mann and whether it was decided to use so much location shooting because of the budget or not it is truly awe inspiring from those opening aerial shots, the fantastic market area and the amazing chase through the streets at the end. So, not the most attention grabbing plot but still great viewing.

This is a pretty good film noir that, happily, was released recently on DVD, giving us fans of this genre another movie to enjoy. It had one of the best noir directors, too: Anthony Mann, who always makes sure we get some great visuals. This is no exception, with good angles, shadows and light and a great big-city feel of New York.

Along the way, we get a not-untypical noirish tale of an basically-good guy who makes a dumb move and pays for his sins even after his conscience gets the best of him and he tries to atone. This winds up to be a story of a man chasing the real crooks, while the crooks and the police chase him! They still make films with these kind of plots and they are almost always interesting.

Farley Granger does a fine job in the lead as the dupe, "Joe Norson," who is too weak to pass up easy money and pays for it. Cathy O'Donnell is his wife and gets second billing but she really doesn't have that big a role. A bunch of other actors really share "supporting cast" status as Granger rules the roost here, lines-wise. For me, it was strange seeing James Craig as the "heavy." I mainly know him from totally opposite, All-American characters in films like "The Human Comedy" and "Our Vines Have Tender Grapes." Here, he's a viscous thug.

The city of New York might be the real second star of this film. There are many shots of it and its skyscrapers, from above and street level looking up. I love those old cars, too!

A dazzling aerial shot taken high above the Empire State Building opens Anthony Mann's Side Street, and, throughout the movie, glimpses of that New York obelisk recur – sometimes dark and menacing, sometimes caught at the vanishing point of an urban canyon. It's a subtle image of the wide gulf on a narrow island between the pride and power of the haves and the borderline, hand-to-mouth lives of the have-nots for whom it's a distant and alien totem.

War veteran Farley Granger tries to make ends meet by shouldering a mail bag part-time; he and his pregnant wife Cathy O'Donnell (the pair reunited from the previous year's They Live By Night) live in a bedroom of his folks' railroad flat. Delivering one day to a shyster lawyer (Edmon Ryan), he spots a few big bills strewn carelessly about; the next, when he finds the office empty, he succumbs to temptation, only to find that the couple of hundred he thought he copped is really about $30-grand. Out of his depth, he wraps up the cash and gives it to a bartender to keep, while he checks into a fleabag hotel to think things out.

The money's a payoff in Ryan's blackmail racket, whose chief lure is Adele Jergens (misnamed `Lucky,' as she's soon fished out of the river). When Granger decides to come clean and return the money, Ryan denies all knowledge of it (it could link him to Jergen's murder). But he sets his loose cannon of a goon (James Craig) to retrieve the cash any way he can. Granger finds that his trusty barkeep has absconded with his package; when he tracks him down, he finds him dead, too.

A cadre of police assigned to the murder (Charles McGraw and Paul Stewart among them) thinks Granger's the prime suspect, so he has to turn sleuth to clear himself. His trail leads him to a Village dive where one of the numbers in Craig's little black book (Jean Hagen) croons `Easy to Love....'

Side Street hews to the classic noir narrative of the average guy caught up in dark forces he can neither understand nor control, and Granger gives it one of his finer performances, perplexed and terrified at what he's unleashed. And while O'Donnell's role is conventional and secondary, Hagen gives her brief sequence as a boozy moth drawn to a fatal flame a poignant spark (Jergens, platinumed and sequined, does her even briefer sequence proud).

To the extent that Mann indulges in social comment, he leaves it to be inferred (the same year, Granger appeared in the far more explicitly leftist Edge of Doom). At the end, the shots of the opening are rhymed with an eagle-eyed view of a police chase through the deserted streets of lower Manhattan early on a Sunday morning. It's a Bullitt-like ending for a movie that, while gripping, shows far more texture and nuance than Bullitt.

**SPOILERS** Film that shows that even the most honest of us can get a little crazy when financial conditions warrant.

Part-time letter carrier Joe Norson, Farley Granger, has dreams about him and his wife living the life of luxury and traveling the world over in style. In reality Joe is down on his luck barely able to support himself with his job, as a part-time flexible, in the Post office much less his wife Ellen, Cathy O'Donnell, and a little one on the way. Delivering mail to attorney Victor Backett, Edmon Ryan, one morning Joe notices two $100.00 bills fall out of a folder from Backett's filing cabinet; all of a sudden a bell rang in Joe's head.

The next day Joe again delivering mail to Backett notices the office door opened and the place empty. Joe sees his chance to take the two hundred dollars in Backetts file cabinet and use it to pay for his wife and soon to be born child's medical expenses. Finding the cabinet locked Joe goes outside and see an ax, for the use if there's a fire, in the hallway and uses it to break into it and take the folder that he saw the money in the day before.

On an empty roof-top Joe, to his utter surprise, sees that the folder doesn't contain just the $200.00 that he thought was in it but $30,000.00 in cold hard cash. What Joe is soon to find out is that the money is a blackmail payment from Emil Lorrison, Paul Harvey, that Backett and his co-blackmailer "Big George" Garsell, James Craig, took from the other blackmailer working with them party girl "Lucky" Lucille Colner, Adele Jergens. It was "Lucky" Lucille who's body was found floating in the East River that morning.

Joe guilt-ridden at what he did tries to return the stolen cash but doesn't know quite just how without ending up behind bars for grand larceny. It's then that Joe gives the secretly wrapped-up cash to bar owner Gus Heldon, John Gallaudet, for safe keeping telling him that it's a gift for is wife Ellen. Joe later goes to see Backett to somehow get him to take his money back but Backett tells Joe he has no idea what he's talking about! The 30 grand is hot and unknowing to Joe can lead whoever has it straight to the electric chair for the murder of "Lucky" Lucille.

The move "Side Street" then takes on the form of a man on the run from both the hoods after him to not only get their money back but rub Joe out to keep him from talking to the police with the cop also looking for Joe as a suspect in the murder of barkeeper Gus who "Big George" tracked down and strangled in order to get the blackmail money back.

Joe needing proof that he had nothing to do with Gus' murder finds a photo of "Big George's" former girlfriend Harriette Sinton, Jean Hagen, in the stolen folder. Tracking Hrriette down to the Les Artisets nightclub, where she's working as a singer, Joe does his best to get her to open up about the "Big" man telling Harriette that he's a old friend of "Big George" and would like to know where he lives. Noticing Joe going through her purse as she went backstage to change Harriett, smelling a rat, calls "Big George" thus setting Joe up to be ambushed.

Exciting final as Joe is knocked out kidnapped and about to be deep-sixth in the East River by "Big George" and his partner taxi driver Larry Giff, Harry Belaver. There's a hair-raising ride through the Wall Street as well as the Washington Park section, that was later demolished to make way for the tragic World Trade Center complex, in downtown Manhattan with the cops hot on "Big George" and Larry's tail.

Joe who's sense of honesty almost cost him his life, and his young wife Ellen the loss of a sweet and caring husband and breadwinner, in the end not only becomes a father and future role model to his new born son but also a hero in the eyes of the people of New York City as well.