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“They Live By Night” and “Side Street” are film noirs in which ordinary, flawed men try to extricate themselves from a web of crime and deceit created by their acquire momentary foolishness. In both cases, the protagonist is pursued by both the law and the hoodlums. “They Live By Night” was shelved for 2 years before it could rep a US release, but both films were made under the aegis of executive producer Dore Schary, first at RKO, then at MGM. They both pair actors Farley Granger and Cathy O’Donnell as sympathetic, if naïve, young couples hurting for money. Curiously, both films achieve the narrative’s sympathy for its acutely imprudent protagonist from the outset, by means of a prologue or voiceover. I wonder if that is Schary’s political activism at work.
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“They Live By Night” (RKO 1948) is based on Edward Anderson’s fresh “Thieves Like Us”, adapted for the veil by director Nicholas Ray. Three “lifers” fracture out of a prison farm. The career criminals T-Dub (Jay C. Flippen) and Chickamaw (Howard Da Silva) bring Bowie (Farley Granger), an eager but naïve young convict, with them, intending that he be their driver on bank heists. The threesome rob temporary refuge with T-Dub’s brother and niece Keechie (Cathy O’Donnell) . Keechie barely hides her distaste for the thugs but is attracted to the sweet and shapely Bowie. Bowie hopes that they can live well and in peace with his portion of a bank job, and the couple race away together. But the police and his partners in crime have other ideas.
Some of the first shots in this film are of a car on a country road photographed from a helicopter. There are more aerial shots later in the legend, also of a car. These may have the first helicopter shots to follow a particular object in a commercial film. The storyline is a basic “fugitive couple” variety, on the urge with brief interludes of bliss. It has a Depression-era feel, as that’s when the fresh was written. But “They Live By Night” is well-known by the amazing authenticity of the everyday life scenes and its compassion for two young people on the fringes of society. Rural, dreadful, not very brilliant, and from unique, isolated backgrounds, Keechie and Bowie are the obscene of Southern white trash and perhaps too ignorant to realize it.
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“Side Street” (MGM 1950) gives the initial impression of a police procedural but is a thriller revolving around a genial mailman sucked into the world of thugs and floozies on anecdote of one proper lapse. Joe Norson (Farley Granger) has recently lost his business and had to proceed his family in with his in-laws. Doing the rounds one day as a part-time mail carrier, Joe sees a man in a law office stash $200 in a filing cabinet. The next time he delivers mail to that office, he steals a file containing the money, hoping to attach his pregnant wife (Cathy O’Donnell) the indignity of delivering their baby in a public clinic. But the file actually contains $30,000, the loot from a blackmail and slay blueprint. Now the curved lawyer’s sociopathic henchman Georgie (James Craig) and the police are after him.
This film also opens with a helicopter shot, a breathtaking straight-down opinion of Manhattan. A car gallop come the raze of film is one of the few I’ve seen in Fresh York City, also shot partly from a helicopter, and it is heavenly spectacular. “Side Street” spends a lot of time on the streets of Recent York and is a fabulous document by cinematographer Joseph Ruttenberg of how the city looked mid-century. The style is docudrama. The title may refer to the archetypal, inconspicuous working class family that lives down many a street and whose frustrations engender Joe’s pickle and the audience’s sympathy. Joe doesn’t start in the underworld, but flees to the noir world of betrayal, murky alleys, nightclubs, and chaos in order to track that money down.
The DVD (Warner 2007) : There are no scene selection menus. Both films have an audio commentary and featurette. “Side Street” also has a theatrical trailer. “They Live By Night: The Crooked Road” (6 min) interviews film critics, film noir scholars, and Oliver Stone about the film and its themes. The audio commentary for “They Live By Night” is by film noir historian Eddie Muller and actor Farley Granger. They discuss how the film made it to the veil, its delayed release, Ray’s direction, the camera work. Granger shares his memory of making the movie. “Side Street: Where Temptation Lies” (6 min) interviews critics and others about Anthony Mann, the cinematography, and themes. The audio commentary for Side Street” is by Richard Schinkel, who discusses the photography, characters, actors, director, screenwriter, and account. Subtitles are available for both films in English SDH and French.
Nicholas Ray’s directoral debut, “THE LIVE BY NIGHT” (1948) is a poignant, noirish cherish record not unlike the grand later “BONNIE AND CLYDE.”
But the true gem in this double-feature DVD is Anthony Mann’s “SIDE STREET” (1949), a gritty, compelling, crime drama that is a lawful film noir.
It follows the downward spiral of sympathetic, naive and desperate Farley Granger — a letter carrier with a pregnant wife — after he steals some money from a pair of very abominable guys. Granger stashes the money with a “friend” and then decides to give it support — but the friend has hit the road with the loot. The abominable guys Granger stole from aren’t amused. They are unrelenting in their pursuit of Granger.
The movie goes all the device with the premis. There’s a terrific, extended, car perambulate that is strikingly photographed, perhaps a first of it’s kind in a drama and clearly a model for the one in “BULLET.”
This is a satisfying, taught film with beautifully tranquil, stark, BW dwelling cinematography in lower Manhattan that perfectly matches the sage. Station as metaphor! Highly recommended.
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