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Side Street (1950)

Side Street (1950)

(p.191) Chapter 15 Side Street (1950)
The Crime Films of Anthony Mann
Max Alvarez
University Press of Mississippi

Anthony Mann’s final contemporary crime thriller, Side Street, which this chapter analyzes, marked a dramatic return to the city of his pre-Hollywood career. Extensive review of several Sydney Boehm screenplay drafts illustrates the social and class concerns of the narrative, which the film partially translates to the screen in spite of being an M-G-M production. This emotionally wrenching film noir of a part time mail carrier (Farley Granger) stealing $30,000 from criminals in order to support his pregnant wife (Cathy O’Donnell) makes extraordinary uses of New York City locations, particularly during the car chase finale through the Manhattan financial district, which is studied in detail. The chapter monitors the location filming and Mann’s confident handling of atmosphere and situations, which contribute greatly to the power and verisimilitude of the piece. Readers receive insight into the precise locales used as well as how studio front office interference affected the end results.

Keywords:   M-G-M, Farley Granger, film noir, financial district, New York City

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