This is How Movies Should Be Made

good back-story, and good acting

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

The film never slows down or bores, plunging from one harrowing sequence to the next.

Side Street (1950)An urban fable about innocence and temptation. There is even a kind of storyteller (a narrator) who leads along at a couple points. And there is the fresh-faced couple all hope and love in a simple, complicated world—New York City just after World War II.And that couple is played by Farley Granger and Cathy O'Donnell with the same earnestness as more famously filmed by Nicholas Ray in "They Live by Night." That was one of Hollywood's great joint performances, and this followup is almost a requirement, and a lucky one. Granger is the main character by far, but again life has led him into a morass that he didn't intend. This is a strangely specific typecasting, but two of his other films bear it out—"Rope" and "Strangers on a Train" by Hitchcock, before and after this one. In this one as in "Strangers" he acts on the problem he's in and makes it worse. Which leads to the great climaxes in both films.The director here is Anthony Mann, who had a career of really wonderful films that have an edge and real finesse. Not one of them is quite the standout classic that would help make him a legend (though the set of Jimmy Stewart Westerns is widely loved, and his film noirs are all great in my view). You can see his flavor for drama that doesn't resort to distraction. It always keeps the characters first, and he gets believable, potent performances from his cast.It doesn't hurt that Joseph Ruttenberg is cinematographer (winner of 4 Oscars in a long career). Or that it's just the cusp of Hollywood moving out to more location shooting, which gives more realism and naturalism to the whole mood. This is a really good film, no matter what the cracks are in the story or whether in fact you like the fable approach.

You know you're in for a good time when the opening shots of this noir thriller are amazing helicopter shots high above NYC, showing you the city in all of its glory. And "Side Street" can go down in history books as a very fine NYC movie. Director Anthony Mann and story author / screenwriter Sydney Boehm make the city just as much of a character as any of the human actors in this gripping and believable tale.It's a tale with which many ordinary people can identify. Farley Granger plays Joe Norson, married to the lovely Ellen (Cathy O'Donnell) who has a baby on the way. Joe doesn't have many prospects, and works as a part time postman while they live with her parents. So it's understandable when, one day, he gives in to temptation and steals money from the office of shady lawyer Victor Backett (Edmon Ryan). The trouble is, he only wants a few hundred dollars, but makes off with $30,000 instead, and the money is tied to recently committed crimes. While the conscience-stricken Joe tries to return the money, and the criminals represented by Backett threaten him, an NYC police detective (Paul Kelly) works the case."Side Street" has the beautiful, moody lighting required of this genre (cinematography by Joseph Ruttenberg), while telling this entertaining story in fine fashion and refraining from being completely predictable. The pacing is effective, too, as there are no digressions distracting from the central theme. There's time for both poignancy and humor, and we get a right on the money assessment of human nature at the end. Joe is no hero, but he's certainly no career criminal, and it's entirely possible to sympathize with him and root for him.Granger is appealing as our protagonist, and O'Donnell is absolutely adorable as his wife. Great character players such as Ryan and Kelly are supplemented by other solid actors: a stunning Jean Hagen, as a singer, Paul Harvey, Charles McGraw, Edwin Max, Harry Bellaver, and Whit Bissell (always nice to see him in anything) as a bank teller.Recommended viewing for any fan of film noir.Eight out of 10.

"Side Street" released in 1950, is an excellent thriller from director Anthony Mann. Farley Granger plays an average working guy who hauls around a mail-bag to make a living. While delivering mail one day, he picks up some money lying around in an office -- well, actually be breaks into the file drawer to get it. Thinking he has only taken a small amount of money, it turns out to be several hundred thousand. This sets off a wild chain of events, with Granger conflicted about what to do. The money is tempting, as his wife (Cathy O'Donnell) is in the hospital having a baby. However, Granger doesn't realize who the money belongs to. The film gets quite complicated and edgy, with murder and a spectacular car chase thrown in at the end. The New York City locations are great fun to watch, and the wonderful black and white cinematography has Anthony Mann's stamp all over it. There are some fine supporting performances, notably from James Craig, playing a ruthless thug, and Jean Hagen has a great part as a boozy bar singer. Cathy O'Donnell isn't given much to do here except look worried. However, this is Farley Granger's show, and he does not disappoint. It's a shame Granger never got the recognition he deserved. Perhaps he just wasn't offered more great parts or maybe he was too good-looking to be taken seriously. Either way, this is a fine film, a true example of the noir films coming out of Hollywood in the late 1940's and early 1950's.

Superbly-handled noir, from one of its absolute masters; despite their reputation for wholesomeness, MGM were really into the groove during this time (one of the genre's finest and most influential offerings, John Huston's THE ASPHALT JUNGLE came from them the same year). Apart from reuniting the hounded young couple from Nicholas Ray's THEY LIVE BY NIGHT (1948), Farley Granger and Cathy O'Donnell, the film also follows the 'story of a city' format laid down by Jules Dassin's THE NAKED CITY (1948).The narrative (written by genre expert Sydney Boehm) may be implausible at face value, but the snowballing of events – with the perplexed Granger at their centre – carries a genuine social resonance (though, thankfully, straying from sentimentality for the most part) and an undeniable charge of excitement (particularly towards the end, when the bodies start piling up and the police are closing in). O'Donnell's role doesn't allow her much range – though her instinctive appeal in the presence of the police for Granger to run away (with the camera suddenly zooming-in to her face) is beautifully done. Paul Kelly is the compassionate police captain on the case who also narrates the tale; one of his assistants is noir regular Charles McGraw.The rogues' gallery includes the thuggish James Craig (it was surprising to find the hero of THE DEVIL AND DANIEL WEBSTER [1941] on the opposite side of the tracks), a corrupt lawyer, another lackey who conveniently uses his cab for kidnapping/body-disposal purposes and, of course, a couple of dames (Jean Hagen is a particular stand-out here: she was also in THE ASPHALT JUNGLE, as a good girl this time). As I said, the climactic car chase along New York streets (shot on location) is terrific – though the ensuing happy ending feels tagged-on (MGM may have ultimately vetoed a downbeat finale) - if still leading to a memorable final shot.