Side Street immediately immerses viewers in its world with an almost omniscient narration, akin to the perspective of a seasoned New York City police officer. This voice sets the stage over a montage showcasing the diverse workforce and inhabitants of the city. The film quickly centers on Joe, a postal worker – an ‘Average Joe’ as one might say – who succumbs to temptation. Discovering a drawer at a delivery stop containing $200, just enough for some baby supplies for his expectant wife and child, he initially justifies taking it. However, his petty theft escalates dramatically when he realizes the drawer actually holds $30,000, an unimaginable sum for someone like Joe, as the narrator emphasizes. This “much too much” money becomes a dangerous burden. Joe hides the stolen cash, but it becomes entangled with a shady bartender and a ruthless criminal who originally stashed it. Guilt-ridden, Joe finds himself drawn into the city’s seedy underbelly in a desperate attempt to retrieve the money and clear his conscience.
This narrative structure places Side Street firmly within the archetypes of B-noir cinema – perhaps even A-noir if Double Indemnity is the gold standard. While the femme fatale figure is somewhat relegated to a supporting role in Harriet, a nightclub singer played by Jean Hagen in a memorable scene with Granger’s Joe, the essential noir elements are present. We see the existential protagonist, down on his luck and wrestling with his conscience as he navigates a criminal act. The police are a looming, ever-present threat, and the true antagonist, George (played by James Craig), embodies desperation and a willingness to escape at any cost. Granger and O’Connell’s dynamic subtly echoes their roles in They Live By Night, but with the added dimension of impending parenthood, amplifying the stakes. Even in moments of panic, like when O’Connell’s character screams “RUN, RUN AWAY” to Joe under police pressure, the film underscores the constant pull of morality against the lure of desperation.
For those familiar with the conventions of noir thrillers, the plot of Side Street might appear somewhat familiar, bordering on commonplace pulp material. Yet, Anthony Mann’s direction elevates the film far beyond typical genre fare. Material that could easily be found in a ten-cent pulp magazine of the era is transformed into something visually compelling and narratively impactful. Many scenes in Side Street are not just memorable, but essential examples of the genre’s visual language. The film is a masterclass in filmmaking, particularly in its use of shadows and atmospheric lighting. The nightclub scene, with its dynamic interplay between Joe and Harriet, is a prime example of this visual storytelling. The editing is sharp and urgent, especially during the climactic chase sequence through downtown New York City, enhancing the tension and realism within the constraints of the period and budget.
Ultimately, Side Street’s enduring appeal, especially for enthusiasts of New York City-based cinema, lies in its gritty authenticity. The film captures a palpable sense of realism through its use of actual city streets, everyday people, period cars, and even staged “accidents.” The dark alleys and shadowed corners of the city become characters themselves, contributing to the film’s overall atmosphere of unease and moral ambiguity. Side Street is a compelling journey into the underbelly of urban life, expertly crafted by Mann’s direction and unforgettable for its commitment to a raw, street-level depiction of noir themes within the concrete jungle of New York City.
